DOCSLIB.ORG

Open API Implementation Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MN Open: API Implementation Guide September 2009 Table of Contents MN Open: API Implementation Guide ........................................................................................................... 1 Customer Support with the MN Open API ................................................................................................. 2 Introduction ................................................................................................................................................ 3 Security: Customer Authentication and Encryption ............................................................................... 4 Transaction Options .................................................................................................................................. 4 Credit Card Payments ............................................................................................................................ 4 Account Balance Payments ................................................................................................................... 4 Pricing, Required Retail Price and Tax Handling .................................................................................. 5 Territory Restriction ................................................................................................................................ 6 Bitrate information .................................................................................................................................. 6 The MN Open APIs ................................................................................................................................... 7 MN Open API Package and Method Overview ................................................................................... 10 Global Parameters ............................................................................................................................... 12 Paging .................................................................................................................................................. 12 Generating Signatures with your Shared Secret ................................................................................. 12 Tips for Methods That Require a POST Body ..................................................................................... 13 Sample Streaming with Flash: RESOURCE and LOCATION ............................................................. 13 PHP, cUrl, and Content-type Header Setting ...................................................................................... 14 Download Locations and Single Download ......................................................................................... 14 Environments: Integration (IE) and Production (PROD) ...................................................................... 14 How to Search for International Language Data ................................................................................. 15 Handling Album-only Tracks ................................................................................................................ 16 Image Data .......................................................................................................................................... 16 Common Response Data Elements .................................................................................................... 17 Common Errors .................................................................................................................................... 21 Content Discovery ................................................................................................................................ 22 Search.GetTracks ............................................................................................................................ 22 Search.GetAlbums ........................................................................................................................... 23 Search.GetArtists ............................................................................................................................. 24 Search.GetGeoLocation ................................................................................................................... 24 Search.ContentMatch....................................................................................................................... 25 Track.Get .......................................................................................................................................... 26 Track.GetLocations .......................................................................................................................... 26 Album.GetTracks .............................................................................................................................. 27 Artist.GetAlbums .............................................................................................................................. 28 Artist.GetTracks ................................................................................................................................ 28 Provisioning ......................................................................................................................................... 30 User.Create ...................................................................................................................................... 30 User.Get ........................................................................................................................................... 31 User.IsUsernameAvailable ............................................................................................................... 32 User.Login - DEPRECATED ............................................................................................................ 32 User.SetPassword ............................................................................................................................ 33 User.Update ..................................................................................................................................... 34 Cart.AddItems .................................................................................................................................. 35 Cart.Clear ......................................................................................................................................... 37 Cart.Get ............................................................................................................................................ 37 Cart.GetCartByUser ......................................................................................................................... 38 Cart.GetDownloadLocations ............................................................................................................ 38 Cart.Purchase .................................................................................................................................. 39 MediaNet Digital Confidential Page 1 of 69 Cart.RemoveItems ........................................................................................................................... 41 Purchase.UseBalance ...................................................................................................................... 42 Purchase.UseCreditCard ................................................................................................................. 45 Management ........................................................................................................................................ 49 Partner.GetAMGData ....................................................................................................................... 49 Partner.GetBalance .......................................................................................................................... 50 Partner.RefillBalance ........................................................................................................................ 50 Report.GetOrderHistory ................................................................................................................... 52 Use Cases ............................................................................................................................................... 54 CART MANAGEMENT USE CASES ................................................................................................... 54 USER MANAGEMENT USE CASES .................................................................................................. 55 Appendix A: Sony Agency Model Nexuses and Tax Rates .................................................................... 57 Appendix B: Label Owners by Identifier and Name ................................................................................ 58 Appendix C: Change History / Errata ...................................................................................................... 68 Customer Support with the MN Open API To ask questions about and receive support for the MN Open API, please contact [email protected]. This is an internal distribution list monitored by subject matter experts around the company. We will get back to you within 24 hours during regular business hours (Pacific Time). With any correspondence, please include: • Issue Description including expected and actual results • Repro Steps • API call(s) and response(s) o URL with query string
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
  • Roadrunner Records

    Roadrunner Records

    WHO'S WHO AT ROADRUNNER RECORDS After 17 years with Phonogram Int'l. in international A&R, Gees Wessels joined RCA as Managing Director of the Dutch com- pany. In 1981 Gees left to establish Roadrunner Records in Amsterdam. The label began by specializing in UK-Punk Music and then heavy metal. One of the company's first signings was a group called Merciful Fate, which later became King Diamond. Gradually, through licensing UK heavy metal product, Roadrunner became one of the premiere distributors of that type of music throughout Europe. In 1986 the company opened offices in the U.S. and a year later in the U.K.. They are currently in the process of opening an office in Cologne, W.Germany as we go to print. In the U.S., Roadrunner has established four different labels: ROADRACER - specilizing in Metal and distributed through MCA, the company is presently 'New On The Charts' with the King Diamond LP "Them". EMERGO - a Progressive Rock label distributed by MCA. HAWKER - Hard Core Rock independently distributed. RC RECORDS - Heavy Metal independently distributed. ROADRUNNER RECORDS - U.S. Staff: DOUGLAS KEOGH - General Manager Douglas began work in the music business at jazz-R&B station WYBC-FM as DJ and Music Director. After promoting :^jjHj^ jazz concerts in New Haven, he moved to New York in 1979 to work as a booking agent with Rasa Artists. He then co- founded Outward Visions, a booking-management service company for new music in the jazz tradition. After design- W^ -i ing and administering a music education program for incarcerated youth in NYC and organizing free neighborhood concerts as part of the outreach program he accepted his first record company position at Europa Records as General Manager.
  • United States Securities and Exchange Commission Form 10-K Conversion Labs, Inc

    United States Securities and Exchange Commission Form 10-K Conversion Labs, Inc

    3/31/2020 https://sec.report/Document/0001493152-20-005288/form10-k.htm 10-K 1 form10-k.htm UNITED STATES SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 FORM 10-K (Mark One) [X] ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the year ended December 31, 2019 or [ ] TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from __________________________ to __________________________ Commission file number 000-55857 CONVERSION LABS, INC. (Exact name of registrant as specified in its charter) Delaware 76-0238453 State or Other Jurisdiction (I.R.S. Employer of Incorporation or Organization Identification No.) 800 Third Avenue, Suite 2800 New York, New York 10022 (Address of Principal Executive Offices) (Zip Code) (855) 743-6478 (Registrant’s telephone number, including area code) Securities registered pursuant to Section 12(b) of the Act: Name of exchange Title of each class Trading symbol(s) on which registered None N/A N/A Securities registered pursuant to Section 12(g) of the Act: Common stock, par value $0.01 (Title of class) Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes [ ] No [X] Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes [ ] No [X] https://sec.report/Document/0001493152-20-005288/form10-k.htm 1/91 3/31/2020 https://sec.report/Document/0001493152-20-005288/form10-k.htm Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
  • Why the Hell Am I Doing This?

    Why the Hell Am I Doing This?

    The Origin of the Toilet Paper: How Soul on Fire Came To Be In January of 2013, I spent an hour on the phone with Darcie Rowan, Peter’s niece. The most memorable portion of this call was her words telling me, "Peter was clean and sober when he died, and he didn't die of a heart attack. We want your book to set the record straight." To say my heart quickened was an understatement. What had happened to Peter Steele? Darcie and I confirmed my trip to NY and NJ to meet with Peter Steele’s surviving sisters on Feb.9th. It was to be a day full of questions, laughter, tears and some great Italian food! While I was to be in the area, I would also meet with Monte Conner and Mark Abramson of Roadrunner Records. It is exciting and bittersweet all at once. At this point, I was merely dipping my toe into the Green Man’s life but I could already sense a presence of sorts. Maybe it was just imaginary, or maybe this is what happens when you become someone’s biographer. For the next 2 years, I would be eating, sleeping and drinking green and black. Back in NY and NJ everyone is gathering together their memorabilia and best memories of Peter. Back in NC I am busy organizing the book in my head, and preparing interview questions. Why the hell am I doing this? First, because I have been a fan of Peter’s special, singular creative vision since that great first Carnivore album was released in 1986.
  • Report-On-Japan.Pdf

    Report-On-Japan.Pdf

    Contents 1. Executive Summary p. 4 2. An Introduction to the Music Market p. 6 3. The Entertainment Environment p. 7 (I)TV p. 8 (II) Radio p. 9 (III) Mobile p. 10 (IV) Online p. 12 (V) Print p. 13 (VI) Record Labels p. 14 (VII) Music Publishing p. 15 (VIII) Local Talent p. 16 (IX) Clubs and Dance p. 17 (X) Live Performance p. 18 4. The Digital Landscape p. 21 Mobile Music p. 22 Internet Music Downloads p. 24 Digital Music Services p. 26 5. Market Entry Recommendations p. 26 6. Appendices p. 28 Top 10 Selling Domestic Albums in 2011 p. 28 Top 10 Selling International Albums in 2011 p. 28 Market Statistics p. 28 Music-related Trade Bodies and Associations p. 29 2 CONFIDENTIALITY NOTICE & DISCLAIMER This document was prepared for internal use by Canadian Government and CAAMA members plus Canadian Music Week attendees only and is not for forwarding or distribution to any third party. It may not be posted on any website. All details referenced are the latest available to us at the time of writing, and all information utilized is believed to be accurate and reliable at the time of submission. However, Swat Enterprises Pte. Ltd. accepts no liability whatsoever for any loss or damage resulting from errors, inaccuracies or omissions 3 1. Executive Summary Japan, an archipelago of 6,852 islands with 47 prefectures, has the world’s tenth largest population with over 127 million people. Its area of 377,873 km2 is close to that of Germany and Switzerland. The greater Tokyo area is the largest metropolis in the world with a population of around 36 million, more than the entire population of Canada.
  • Warner Music Group Corp. WMG Acquisition Corp

    Warner Music Group Corp. WMG Acquisition Corp

    UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 8-K CURRENT REPORT Pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934 Date of Report (Date of earliest event reported): December 18, 2006 Warner Music Group Corp. (Exact name of Co-Registrant as specified in its charter) Delaware 001-32502 13-4271875 (State or other jurisdiction (Commission File Number) (IRS Employer of incorporation) Identification No.) 75 Rockefeller Plaza, New York, New York 10019 (Address of principal executive offices) (Zip Code) Co-Registrant’s telephone number, including area code: (212) 275-2000 WMG Acquisition Corp. (Exact name of Co-Registrant as specified in its charter) Delaware 333-121322 68-0576630 (State or other jurisdiction (Commission File Number) (IRS Employer of incorporation) Identification No.) 75 Rockefeller Plaza, New York, New York 10019 (Address of principal executive offices) (Zip Code) Co-Registrant’s telephone number, including area code: (212) 275-2000 Check the appropriate box below if the Form 8-K filing is intended to simultaneously satisfy the filing obligation of the Co-Registrants under any of the following provisions: ¨ Written communications pursuant to Rule 425 under the Securities Act (17 CFR 230.425) ¨ Soliciting material pursuant to Rule 14a-12 under the Exchange Act (17 CFR 240.14a-12) ¨ Pre-commencement communications pursuant to Rule 14d-2(b) under the Exchange Act (17 CFR 240.14d-2(b)) ¨ Pre-commencement communications pursuant to Rule 13e-4(c) under the Exchange Act (17 CFR 240.13e-4(c)) ITEM 8.01. OTHER EVENTS. On December 18, 2006, Warner Music Group Corp.
  • Record of the Week ��Music� Retail Survey Suggests Continued Importance of Ownership and Physical Formats

    Record of the Week Music Retail Survey Suggests Continued Importance of Ownership and Physical Formats

    issue 573 / 17 April 2014 TOP 5 MUST-READ ARTICLES record of the week Music retail survey suggests continued importance of ownership and physical formats. i wanna Feel (RotD) Secondcity Ministry Of sound/speakerbox Pono’s Kickstarter round May 25 closes with $6.2m raised. (Billboard) There’s no question whatsoever that 2014’s musical land- of Zane lowe’s Hottest records in The World at radio 1. A recent Cool Cuts No.1 and currently in shazam’s pre- Syco Entertainment house anthems dominating the top end of the singles chart. release Top 10, we’ve heard Annie Mac, Mistajam, skream CEO Charles Garland Here’s the next club classic in the making. secondcity has an and loads more falling over themselves to declare their love stepping down. (Billboard) element of mystery surrounding him but what we do know so for this tune and now the stage is set for this to be another far is that he was born in Chicago but moved to london at the Spotify expected to age of 12, hence his stage name. Already on board at radio where it’s likely to sit comfortably all summer long. Keep ‘em announce US carrier deal with upfront additions to their playlists are 1Xtra, Capital and coming. with Sprint. (Recode) Capital Xtra, Kiss and Kiss Fresh plus the track has been one See page 13 for contact details Sajid Javid named CONTENTS as Culture Secretary. (Guardian) P2 Comment: Pono P3 Wide Days report P8 TGE panels focus P3 Review: Wide Days P6 The Griswolds P9 Aurora P10 Sync of the Week Plus all the regulars worldwide sales including 6am, Word On, Business News, Media marketing and Watch and Chart Life distribution 1 comment david balfour questions whether pono is the right way forward for high quality audio Neil Young’s pono high resolution audio see many people warming to them or proudly project this week completed its funding round minimum standard.
  • ORIGINAL IR[RC~I"-M~A-8&3 DEC 1 9 2002

    ORIGINAL IR[RC~I"-M~A-8&3 DEC 1 9 2002

    SUSAN CHERTKOF MUNSAT ASSOCIATE COUNSEL BUSINESS ANO LEGAL AFFAIRS ORIGINAL IR[RC~I"-M~a-8&3 DEC 1 9 2002 GENERAL COUNSEL a a December 19, 2002 QF COPYRIGHT I ' I I ' BY HAND David O. Carson, Esq. General Counsel U.S. Copyright Office James Madison Memorial Building Room LM-403 First and Independence Avenue, SE Washington, DC 20559-6000 Re: Notice of Intent to Participate in Copyright Arbitration Royalty Panel Proceedin Docket No. 2002-1 CARP DTRA3 Dear Mr. Carson: Enclosed please find for filing an original and five copies of a Notice of Intent to Participate (the "Notice") along with a sixth copy of the Notice for our records. Please date-stamp the sixth copy and return it to my assistant Edward Hahn, who will be hand- delivering the Notice to your office. Sincerely, &fgLQ /IlUJJJ ~ Susan Chertkof Munsat Enclosures ON /0C2 RECORDING INDUSTRY ASSOCIATION DF AMERICA 1330CONNECT I CUT AVE I NWI S II I TE3 0 0 I WASH I NG7 0 0 3 6 PHONE: 202.857.9682 FAX: 202.775.7253 WEB: www.viaa.corn IRXCKIE~KD& Before the DEC 1 9 2002 COPYRIGHT OFFICE LIBRARY OF CONGRESS GENERAL COUNSEL QOPYRlGHT Washington, D.C. QF ) ) In Re: ) ) Adjustment of Rates and Terms for the ) Digital Performance of Sound Recordings ) Docket No. 2002-1 CARP DTRA3 ) ) ) ) NOTICE OF INTENT TO PARTICIPATE The Recording Industry Association ofAmerica, Inc. ("RIAA"), on its own behalf and on behalf of SoundExchange, presently an unincorporated division ofthe RIAA, submits the following comments in response to the Copyright Office Notice published at 67 Fed.
  • A&R Update December 1-2-3-4 GO! RECORDS 423

    A&R Update December 1-2-3-4 GO! RECORDS 423

    A&R Update December 1-2-3-4 GO! RECORDS 423 40th St. Ste. 5 Oakland, CA 94609 510-985-0325 E-mail: [email protected] Web: www.1234gorecords.com 4AD RECORDS 17-19 Alma Rd. London, SW 18, 1AA, UK E-mail: [email protected] Web: www.4ad.com Roster: Blonde Redhead, Anni Rossi, St. Vincent, Camera Obscura Additional locations: 304 Hudson St., 7th Fl. New York, NY 10013 2035 Hyperion Ave. Los Angeles, CA 90027 825 RECORDS, INC. Brooklyn, N.Y. 917-520-6855 E-mail: [email protected] Web: www.825Records.com Styles/Specialties: Artist development, solo artists, singer-songwriters, pop, rock, R&B 10TH PLANET RECORDS P.O. Box 10114 Fairbanks, AK 99710 E-mail: [email protected] Web: www.10thplanet.com 21ST CENTURY RECORDS Silver Lake, CA 323-661-3130 E-mail: [email protected] Web: www.21stcenturystudio.com Contact: Burt Levine 18TH & VINE RECORDS ALLEGRO MEDIA GROUP 20048 N.E. San Rafael St. Portland, OR 97230 503-491-8480, 800-288-2007 Website: www.allegro-music.com Genres: jazz, bebop, soul-jazz 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 Email Address: [email protected] Website: www.21stcenturystudio.com Genres: rock, folk, ethnic, acoustic groups, books on tape, actor voice presentations Burt Levine, A&R 00:02:59 LLC PO Box 1251 Culver City, CA 90232 718-636-0259 Website: www.259records.com Email Address: [email protected] 4AD RECORDS 2035 Hyperion Ave. Los Angeles, CA 90027 Email Address: [email protected] Website: www.4ad.com Clients: The National, Blonde Redhead, Deerhunter, Efterklang, St.
  • Das Musikbusiness Funktionsweise, Eigenarten Und Untergang

    Das Musikbusiness Funktionsweise, Eigenarten Und Untergang

    Das Musikbusiness Funktionsweise, Eigenarten und Untergang Eine Zusammenstellung von Fakten, Hintergründen und Möglichkeiten zum Thema Musikproduktion und -publikation von Andy Stamm Inhaltsverzeichnis Inhaltsverzeichnis Inhaltsverzeichnis Einleitung Wie man mit Musik Schutz von Musik – Zukunft – Ideen und Was ist Musik? 4 etwas verdient 42 Wer hats geschrieben? 92 Möglichkeiten 148 Weshalb man sich als Künstler Gedanken Ja, aber dann gehen wir doch Vorteile der Lizenzentrennung 150 einfach online! 44 Suisa zum Musikbusiness machen sollte 5 Die Aufteilung der Musiklizenzen, Einleitung 96 Über den Inhalt 7 Kunst oder Kommerz? 46 nur sonen Gedanke 152 YouTube 49 Vorteile der Suisa 98 Das Musikbusiness Nachteile der Suisa 99 Copyright, Lizenzen und Beispielrechnung für eine Band 52 Urheber – Begriffserklärungen Was es ist und wie es funktioniert 8 Konkrete Zahlen 102 im Rechtewirrwarr Bandnamen 54 Tschüss Suisa 104 Die Tonträgerproduktion Was ist kommerzielle Musik? Was ist eine Plattenfirma? Tonträger, von analog über Die Radiolandschaft Schweiz 106 Was ist das Urheberecht? 158 digital bis gestreamt 58 Wie lässt sich Musik schützen? Was ist ein Labelcode? 10 Die knappen Frequenzen Die Geschichte des Tonträgers 60 Was ist eine Lizenz? 159 Was ist ein Plattenvertrag? 11 Die unerreichbaren Konzessionen 107 Was ist ein analoger Tonträger? 62 Urheberrecht: nicht Was ist Promotion? 12 Die einseitige Kulturförderung 108 Was ist ein digitaler Tonträger? 64 unbeschränkt haltbar 160 Wie funktioniert eine Plattenfirma? 14 Die Beamtenbremse 111 Der Durchbruch der CD und damit Die weitere Entwicklung des Externe Stellen 15 des digitalen Tonträgers 70 Das nicht vorhandene Feedback 112 Urheberrechts 163 Die grossen Plattenfirmen 18 Alben, Singles und Strategien Die Radiotauglichkeit 113 Creative Commons – Liste der «Big Three» und ihrer der Majors 71 Berieselung – die Hauptsendezeit 114 Sublabels und Musiker 20 die CC-Lizenzen 166 MP3 & Co.
  • Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality

    Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality

    Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.
  • ROCK of AGES Pk 5 24 12 Domestic

    ROCK of AGES Pk 5 24 12 Domestic

    Under the direction of Adam Shankman (“Hairspray”), New Line Cinema’s feature film adaptation of the smash hit Broadway musical “Rock of Ages” comes to the big screen. “Rock of Ages” tells the story of small town girl Sherrie and city boy Drew, who meet on the Sunset Strip while pursuing their Hollywood dreams. Their rock ‘n’ roll romance is told through the heart-pounding hits of Def Leppard, Foreigner, Journey, Poison, REO Speedwagon, Twisted Sister and more. The movie musical stars Julianne Hough (“Burlesque”), with actor/singer Diego Boneta in his feature film debut, Russell Brand (“Arthur,” “Get Him to the Greek”), Oscar® nominee Paul Giamatti (“Cinderella Man”), Academy Award® winner Catherine Zeta- Jones (“Chicago”), Malin Akerman (“The Proposal”) and R&B queen Mary J. Blige, with Oscar® nominee Alec Baldwin (“The Cooler,” TV’s “30 Rock”), and Oscar® nominee Tom Cruise (“Mission: Impossible – Ghost Protocol,” “Magnolia,” “Jerry Maguire”) as Stacee Jaxx. Shankman directs “Rock of Ages” from a screenplay by Justin Theroux and Chris D’Arienzo and Allan Loeb, based on D’Arienzo’s musical of the same name. The film is being produced by Matthew Weaver, Scott Prisand, Carl Levin, Tobey Maguire, Garrett Grant and Jennifer Gibgot, with Toby Emmerich, Richard Brener, Michael Disco, Samuel J. Brown, Hillary Butorac Weaver, Janet Billig Rich, Shankman and D’Arienzo serving as executive producers. Rounding out the “Rock of Ages” creative team are director of photography Bojan Bazelli (“Hairspray”), production designer Jon Hutman (“It’s Complicated”), editor Emma 1 E. Hickox (“A Walk To Remember”), Oscar®-nominated costume designer Rita Ryack (“How the Grinch Stole Christmas,” “Hairspray”), Grammy-nominated music supervisor Matt Sullivan (“Dreamgirls,” “Nine”), and Emmy Award-winning choreographer Mia Michaels (“So You Think You Can Dance”).