Archive | November 2014

MUSIC BUSINESS: ‘Puppet Masters’ and ‘Musical Chairs’



E.O.A.A WEEKLY: Friday, November 28, 2014, Written by Tiwanda ‘Ne Ne’ Lovelace

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The only game being played in 
‘Puppet Masters’ and ‘Musical Chairs’ 
Let’s explain how the music industry plays Musical Chairs. I had to see who was running the label back when I was under contract. I had to know who profited from this mess.
Of course, these individuals listed below were definitely involved and/or aware of publishing contracts,  song submissions, ‘gutted’ musical works and actions which led to multiple Copyright Infringements:
Richard Blackstone    
Richard Blackstone
Dave Renzer

These were some of the same people who shortly after profiting, began transferring me back and forth over the phone (keeping me on speakerphone) while rejoicing, mocking and laughing about Zomba being Number 1.

Follow The Money!!!
        Paul Katz 
Paul Katz was C.C.’d on my Co-Publishing contract advance:

Moving On Up The Line
The owner’s of the company were  –
Clive Ian Calder
After an unspecified “ethical disagreement,” Calder bought 
Simon’s stake in Zomba and became the sole owner in 1990.

I was signed to Zomba in 1993 and I think I have an idea of 

what was meant by ‘ethical disagreement.

In the late nineties, Jive expanded its success to include teen pop 

phenomenons such as Backstreet Boys, ‘N Sync and Britney 
Spears, all of which topped the charts. In 2002 he sold Zomba for 
US$2.74 billion to the German-based media group Bertelsmann.
Though he was offered a position with BMG, he instead chose to 
stay on temporarily as an advisor during the integration period, 
but left the business in 2003. The Jive Records brand was 
discontinued in October 2011, with their artists being moved 
to RCA Records.
Ralph Simon
Simon co-founded the independent Zomba Group of music 
companies (now a subsidiary of Sony Music Entertainment) 
with Clive Calder in the 1970s. In the mid-90s, he was 
Executive Vice President of Capitol Records and Blue Note 
Records in Hollywood and started EMI Music’s global New 

Media division.

On May 20, 1996, I filed a lawsuit against BMI, 
Zomba and Jive because of their lack of 
response to my request as to how BMG, MCA, 
EMI, WEA, Polygram and Jive have released 
songs which blatantly infringe upon my 

copyrights. I submitted these lyrics and 

melodies to Zomba.

Although people are moved like musical chairs, 
it is easy to see how moving employees back 
and forth from BMG, MCA, EMI, WEA, Polygram 
and Jive may have gained access to  songs 
which blatantly infringe upon my copyrights. I 

sent these lyrics to Zomba; which they deny receiving. 

Conveniently their denials were received in 

envelopes marked ‘Comics’.


I assure you that this is no game. 
Here I am twenty plus years later…still fighting for 
scraps and being stripped of everything from housing to 
basic necessities for decades.
This is not a matter of not having Copyrights!!!
This is not a matter of not seeking or having Legal Representation!!!
This is not an issue of signing away percentages because it was only a Single 50/50 Co-Publishing Agreement with Zomba, a Major Music Publishing!
Not only did this Major Music publisher Neglect to Protect their own 
Writer but Failed to Pursue Interest in Copyright Infringements associated to hundreds of millions of dollars…
Why do you think that a company that has a (50) Fifty Percent Interest in Musical Works would actually refuse to pursue claims which were supported by factual documentation, split-sheets, certified mail receipts and certified, sealed copyrights?
Why is it while you attempt to pursue your claims and allegations, you are met with Violence, Harassment, Accusations and Coincidental Hardships? 

Zomba Group of Companies

From Wikipedia, the free encyclopedia
Zomba Label Group
Zomba Group of Companies logo.jpg
Parent company Sony Music Entertainment
Founded 1975[1][2]
Founder Clive CalderRalph Simon
Status Defunct
Distributor(s) Sony Music Entertainment
Genre Various
Country of origin United Kingdom
Location London, EnglandNew York, NYNashville, TN
Official website Zomba Label
The Zomba Group of Companies (sometimes referred to as Zomba Music Group or just Zomba Group)[3] was a music group and division which was owned by and operated under Sony Music Entertainment. The division was renamed to Jive Label Group in 2009[4] and was placed under the RCA/Jive Label Group umbrella. In 2011, the RCA/Jive Label Group was split in half. Multiple Jive Label Group artists were moved to Epic Records while others stayed with Jive as it moved under the RCA Music Group. In October 2011 Jive Records was shut down and their artists were moved to RCA Records.[5]
Founded independently in the mid-seventies by Clive Calder and Ralph Simon, the group has had interests in music release, distribution, production, publishing, equipment rental, recording studios, and artist management. Though the financial structure and annual revenue of Zomba during the company’s independent period was probably only known to CEO Clive Calder (the company was registered privately offshore in the Dutch Antilles[1]), Zomba was widely regarded as the most successful of the independent music companies.
The group is probably best known for its role in developing some of the most popular forms of music, such as hip-hop in the 1980s, and the teen pop/boy band phenomenon in the late 1990s through their first record label Jive, though they have also had substantial activities in both the Christian and gospel music field. Calder and Simon both served as CEOs until 1990 when Calder bought out Simon’s share and ran the company himself until 2002. In 2002, BMG purchased the company and subsequently restructured the labels under the umbrella company Zomba Label Group, which was the most public face of the company. The label group served as a parent for many different labels including Jive, SilvertoneVolcano and LaFace.


South African Roots: Calder, Simon and Lange[edit]

In late 1971, Clive Calder and Ralph Simon began their two-decade partnership in forming businesses in record production and promotion, music publishing, artist management and concert promotion in South Africa.[1] Because of the market in South Africa, there was a need to branch out into various aspects of the business, instead of just focusing on one aspect of the industry. “You couldn’t do just one thing. It was too small,” explained David Gresham, CEO of David Gresham Record Company. “This is not a country where you have a million-seller. A No. 1 record is a 10,000 unit seller. That only pays the rent for a month or two.”[6] While almost mandatory in South Africa, this early style of music company would be adapted to other markets throughout the companies history, and would become a staple of Calder’s managing legacy.

Early companies formed by Calder and Simon were Sagittarius Management and Clive Calder Productions (CCP).[1] CCP was distributed by EMI Records South Africa who purchased the company in 1972. Although Calder has no stake in it now, it still exists as a wholly owned subsidiary of EMI, specializing in the recording, development and marketing of domestic artists. Calder’s relationship with EMI began when he had been an A&R Manager at EMI South Africa for eighteen months. There he had signed some big groups for the time such as Freedom’s Children and the Otis Waygood Blues Band.[6] During this time, Calder was also a bassist in a few bands. He formed the Four Dukes and the In Crowd with EMI artist Peter Vee, whom he also produced. Calder eventually paired Lee with a young producer named Mutt Lange, who began producing songs for Calder at CCP, including the local hit “Sunday Monday Tuesday” by Jessica Jones.[1]

Zomba in London[edit]

The trio of Calder, Simon and Lange decided in 1974 that they had to get out of South Africa. “We were politically very much opposed to the old apartheid regime” says Simon. They pooled together what little money they had and moved to London.[7] Having landed right in the middle of the British punk rock movement, they felt their experience would not be best utilized in marketing and promotion in such a different context. Instead, they opted to create a publishing company and Zomba Corporation was officially registered in Switzerland in 1975, operating out of Calder’s bedroom space in London.[1][2] The name “Zomba” referred to the capital of African country Malawi (Lilongwe superseded Zomba as Malawi’s capital in 1974).[8]

Next, Calder and Simon began looking for songwriters. The first was Henri Belolo, the French producer who helped create the Village People. Zomba became the disco group’s British publisher. Though the band had been turned down by a few UK labels, Calder and Simon thought they could retain the most control of Zomba if they stayed in the publishing and management business, allowing other labels to release their artists’ music.[7] Meanwhile, Lange was building a name for himself as a producer, with albums by theBoomtown Rats, Graham Parker and eventually AC/DC’s 1979 Highway to Hell, his breakthrough album.[9] This led to Lange becoming one of the world’s leading hard-rock producers, later adding Def Leppard, Foreigner and Bryan Adams to his resume. For Zomba, this meant increased exposure and credibility leading to many new producer and songwriter management deals. Additionally, artists would sign publishing deals, giving their publishing company a constantly burgeoning collection.[7]

In early 1978, Zomba opened offices in New York City and began looking for more artists and songwriters.[10] Clive Davis was one of the first to contact the group, who used his recently formed Arista Records to distribute Zomba artists. The first major signing was Billy Ocean.[7] Over the next few years, Zomba’s songwriters hit it big and the publishing profits kicked in, marking the beginning of the company’s first major expansion into record labels. Though Davis wanted Calder to head his West Coast A&R operations, Calder had a different plans altogether, and instead presented Jive Records to Davis.

Jive: taking a chance with rap[edit]

Arista had been having trouble pushing rock acts in the US, and Clive Davis had hoped that with Zomba’s Mutt Lange connection, Jive would fill that role. However, Calder had other ideas. In 1981, Jive began operations by releasing British dance and pop music such as Q-Feel, A Flock of Seagulls and Tight Fit. By 1982, Calder was introduced to a young fresh college graduate named Barry Weiss who, for his job interview with Zomba, took Calder out to hip-hop and black clubs all over New York City. Calder was immediately impressed with the man and had him scanning sales data all over the country searching for unknown acts on small labels selling large numbers. Calder got one of his songwriters Thomas Dolby to create a catchy hook for a local DJ Mr. Magic to rap over. Mr. Magic had to cancel at the last minute, but fortunately he knew another rapper, Jalil Hutchins. Weiss’s stress level shot up when Hutchins came to the session with another unknown rapper named Ecstasy and no rhymes. After two days, the group created and recorded “Magic’s Wand” which turned into a hit single. Weiss named the group Houdini, but Calder changed it to Whodini. Calder flew the group to London to record an album, then to Germany to record with producer Konrad “Conny” Plank of Devo and Ultravox fame. While the group would eventually leave Jive after a few albums, the early success resulted in Jive becoming a label with a focus on hip-hop artists throughout eighties. At a time when the record establishment wouldn’t touch “ghetto” music like rap, a white South African successfully marketed some of the edgiest black music.[9]

After Whodini, Jive began signing other rap artists into the later half of the decade. Boogie Down Productions was signed on the strength of their first record Criminal Minded, and their Jive debut By All Means Necessary was released in 1988.[11] Young West Coast rapper Too Short was picked up by Jive after his independently released Born to Mack sold over 50,000 copies. Jive gave the album national distribution which led to gold status, and then quickly issued his follow up Life Is…Too Short which achieved platinum status.[12]Meanwhile, Jive signed DJ Jazzy Jeff & The Fresh Prince in 1986 and released their debut Rock the House. The duo was a great success for Jive, helping make rap more accessible.

Jive continued supporting rap artists into the nineties. Most of the aforementioned groups continued on Jive into the next decade. KRS-One, the primary force behind Boogie Down Productions, released a string solo albums with Jive beginning with Return of the Boom Bap in 1993.[13] In 1991, Jive signed R&B artist R. Kelly who, along with his backing band Public Announcement, released their debut Born into the 90’s in early 1992. R. Kelly’s began his solo career with 12 Play in 1993 and continues to release with Jive today.[14] A Tribe Called Quest was signed by Jive in 1989 following a successful independently released single “Description of a Fool.” Their debut album People’s Instinctive Travels and the Paths of Rhythm was released by Jive in 1990 and framed the group as one of the most intelligent rap groups.[15] Many other rap and R&B artists were signed throughout the eighties and nineties before the teen-pop explosion in the later half of the decade.


By 1990, Zomba was worth $225 million with over fifty companies. Contrary to most other record businesses at the time, Zomba spared no time with frills. “The Jive offices were crummy, cardboard desks. They just really did everything on the cheap”, says attorney Gary Stiffelman. The company began to attract more major label attention when EMI attempted to buy the company, but was ultimately turned down.[7][8] This period also saw Ralph Simon leaving Zomba at the start of the decade. Through an unspecified “ethical disagreement”, Calder and Simon ended their relationship of over two decades.[7] Calder bought out Simon’s half of the company and subsequently gained full control of the company.[1] In late 1991, BMG furthered its relationship with Zomba buy purchasing a 25% stake in their music publishing business, allowing them to sub-publish Zomba compositions in foreign markets.[1] BMG continued with a 20% purchase of Zomba’s records division in 1996.[16]

Building on the successes of the Jive label, Zomba began expanding its reach by purchasing and creating new labels, and by creating new divisions that helped expose more people to Zomba artists and services. In 1988, Andrew Lauder formed the UK-based Silvertone Records under the Zomba Group. While Jive focused on hip hop, Silvertone focused on more rock-oriented music. The label’s roster was initially bolstered by The Stone Roses, but quickly expanded to include blues, acoustic, and roots music.

[1] Other artists featured early on Silvertone include John Lee Hooker, J.J. Cale and The Men They Couldn’t Hang. This period also saw one of the few times that Zomba attempted cracking the classical music market. In 1992, Zomba purchased UK classical music group Conifer Classics with the aide of the group’s head Alison Wenham. Though the deal seemed to be solid, Zomba sold the company to BMG in 1995.[1] Classical music activities have remained minimal[clarification needed] within the company since then. Building on existing publishing deals, Zomba briefly co-owned the UK label Sanctuary Records. While the co-ownership only lasted between 1989 and 1991, the two companies continued dealing together in other avenues, including a publishing deal with Sanctuary artists Iron Maiden.[1] In 1998, Zomba purchased a 50% stake in the troubled label Volcano Entertainment (called Freeworld at the time). The label had been under financial pressure due to various reasons, including a lawsuit from flagship artist Tool. The purchase was shared with management firm Q-Prime, though shortly after they sold their half to Zomba, making Volcano a wholly owned subsidiary. The first action was to settle the lawsuit with Tool, who would go on to become another Zomba success throughout the 2000s, representing the broad stylistic reach of artists under the Zomba Group.In 1993, Zomba created Zomba! Music Services in order to facilitate publishing rights for those in the film and television industry.[8] The division would act as a channel through which clients could acquire products and services from any company within Zomba. Songs published by Zomba Music Publishers Ltd., or released on any of the Zomba labels, or specialty recordings owned by the division itself, could be sourced for inclusion on film soundtracks, television shows or commercials.[1][17] This move gave Zomba profits by providing an accessible method of accessing the company’s vast publishing catalogue.The year 1994 saw the first of many of Zomba’s successful forays into the Christian music scene with the purchase of the Brentwood Music Group.[1][18] Brentwood was an established company consisting of an extensive Christian distribution network, several labels, and one of the largest music publishing divisions in printed choral music in the U.S.[19] Expanding on the Brentwood purchase, Zomba purchased the Christian label group Reunion Records from BMG in October 1996.[1][20] In 1997, Zomba purchased yet another Christian music affiliated company, the Benson Music Group, from Music Entertainment Group.[21][22] Benson became Zomba’s third label to focus on Christian music following Brentwood Music and Reunion Records. An important asset of the Brentwood acquisition was the publishing arm, originally founded in 1902, that included 46,000 copyrights from artists such as Elvis Presley, Dolly Parton, Linda Ronstadt, and Willie Nelson.In reaction to the surge in Christian-oriented labels gathered over so few years, Zomba created the Provident Music Group in June 1997.
The Nashville-based group was led by Jim Van Hook and was essentially a continuation of the Brentwood group and an amalgamation of the other Christian-oriented labels. The group consisted of the Benson, Brentwood and Reunion groups, as well as the Brentwood/Benson Publishing Group and newly formed Provident Music Distribution arms.[23] This new group allowed the three main sublabels to have unified resources and distribution while still retaining their unique personalities in the market.In 1996, Zomba acquired the Windsong Holdings which gave them control of many new companies including Windsong International, Pinnacle Entertainment and Music For Nations.[24] It also gave them control of the established music company Rough Trade (80% of Rough Trade Records Germany/Switzerland/Austria (GSA) and 100% of Rough Trade Benelux). Rough Trade was primarily known as a distributor, but it also ran many electronic labels based in Germany. In July 1999, Rough Trade GSA was renamedZomba Records GmbH, while the Benelux operation (which only had distribution at the time) was absorbed into Zomba Distribution. The Rough Trade name remained as an imprint of Zomba Records GmbH, but was largely abandoned by Zomba.With the successful integration of Rough Trade into its operations in the GSA region and Benelux and to expand on recent teen pop successes, Zomba created a London-based international label group, Zomba International Records Group.[25] Directed by Stuart Watson, the new organization allowed each new local territory to freely sign and develop acts on its own.[26] If those artists could create a strong regional profile, it would be possible to “export” them to Zomba International for broader exposure.[27][28] Simultaneously, it allowed Zomba artists increased international exposure. The expansion was largely unhampered, save for some legal issues with the Australian branch. Australian record company Festival Mushroom Group lost at least a dozen employees to Zomba in early 1999, and placed an injunction that stopped them from soliciting Mushroom employees, and accused former employee Scott Murphy of trying to bolster Zomba’s presence while still working for Mushroom.[29] However, the issue was resolved fairly amicably and ended with a distribution deal with BFM Distribution (a joint venture of Festival Mushroom Group and BMG).[30]As the record industry began evolving due to the widespread use of the Internet, and the increasing ease with which artists can record at home, Zomba made moves that illustrated their desire to change with the times. In 2000, they joined the growing list of record companies that made some music available via digital download with online distribution company Amplified Entertainment.[31]
In 2002, Zomba joined majors EMI, Universal and BMG, with approving some of their Jive catalog for release on the new DataPlay media. Though the media was largely unsuccessful, the move illustrated Zomba’s competitiveness with the major labels in the growing digital world.[32] However, a negative outcome of the changing times was the closing of some of Zomba’s Battery Studios and Dreamline equipment rental businesses towards the end of 2001.[33]
Teen Pop explosion[edit]
Around 1993, Clive Calder began his uneasy relationship with Lou Pearlman. Pearlman had put together a new group, Backstreet Boys, which was languishing on Mercurywithout any hits.
He presented the group to Calder along with David McPherson. Though initially uninterested due to the dominance of grunge and alternative rock, Calder thought that the group could help expand his operations overseas.[7] Zomba bought out the boys contract for $35,000 and moved the group over to Zomba imprint Jive
Calder immediately sent the group to Sweden and matched them with a group of producers recently found by Zomba scouts: Dag Volle and Martin Sandberg. In mid-1995, the band recorded their three songs including their first single at Cheiron Studios in Stockholm. Next Calder matched them with an old friend, Stuart Watson, who ran SWAT Enterprises, a company specializing in promotion in Asia. The group went to Asia began touring relentlessly and released their first album which sold one million copies in three weeks. In 1997, when Calder thought the grunge phenomenon had sufficiently passed, he took the group back over to the United States where their North American debut ended up selling upwards of 14 million copies, creating the first in a run of many hits that Zomba and the Backstreet Boys would enjoy together.[7]While Pearlman and Watson were breaking the Backstreet Boys overseas, Jive A&R man Steve Lunt was busy in the US seeking a female star, and was greeted with fifteen-year old Britney Spears. Initially horrified by Spears karaoke demo of a Toni Braxton song sung in the wrong register, Lunt was intrigued by a brief moment at the end where he heard the “kind of soul she had.”[7] As was the virtually the standard at Zomba, Lunt took Spears to in-house songwriter and producer Eric Foster White in the company’s publishing division, and the two recorded “You Got It All.” Like the Backstreet Boys, Spears was hooked up with Cheiron producer Max Martin. Within thirty days of letting a music director atStar 100.7 in San Diego hear “…Baby One More Time,” the song was number one on the charts.In 1999 Zomba was involved in a “boy band controversy” when trying to sign another group that Pearlman had put together himself, *NSYNC.[34] *NSYNC had recently left RCA due to allegations that Pearlman had taken approximately 50% of their profits and not the one-sixth that he had agreed to.[35] Seeing the group as a “free-agent,” Jive quickly signed them and prepared to release their next album. On 12 October, Pearlman’s company Trans Continental, in conjunction with RCA owner BMG Entertainment and BMG Ariola Munich sued Jive Records, Clive Calder, and the members of *NSYNC for $150 million citing, among other things, breach of contract.[36] Pearlman sought an injunction against the release of the band’s new album and that the recordings be given to him, but it was denied in court.[35] As a response to the suit, and in reference to treatment by Trans Continental, *NSYNC released a statement citing the company’s poor conduct as “the most glaring, overt, and callous example of artist exploitation that the music industry has seen in a long time.”[37] The lawsuit was settled on 23 December with undisclosed terms, but left Jive free to release future *NSYNC albums.[38][39]The lawsuit, which Rolling Stone called “the music industry’s nastiest legal skirmishes in years,” was problematic for Zomba for two main reasons.[39] First, having heard that ‘N Sync was signed to Jive, the Backstreet Boys did not want to be a part of the label anymore. Second, the lawsuit temporarily strained Zomba’s relationship with BMG, whose distribution deal with Zomba was coming to a close. Jive initially announced that they would not renew their deal with BMG, but reconsidered following the lawsuit with BMG and Trans Continental. The distribution deal may have been a determining factor in the outcome of the lawsuit, since distributed Zomba product accounted for 5.5% of BMG’s US market share, and company CEO Strauss Zelnick was under pressure not to lose that.[38] They also signed a new deal with the Backstreet Boys that gave the band a 20% royalty rate.[40]From BMG to Sony, and recent activities[edit]BMG had owned 25% of Zomba’s publishing business since 1991 and 20% of its recording business since 1996.[41][42] As part of BMG’s 1996 agreement with Zomba, the music giant was required to follow through on a put option and buy the remaining shares it did not already own before 31 December 2002.[43][44] In June 2002, Clive Calder decided to exercise the put option.[45] Effective 26 November 2002, BMG Entertainment concluded its deal with Zomba for the purchase of the company’s entire assets.[46] While Calder had originally requested $3.2 billion for his shares in Zomba, valuation of the label’s assets varied from $1.6 billion to $2.4 billion.[44] Following the purchase negotiations, a price of $2.74 billion was agreed upon, the biggest purchase of an independent at the time. Zomba’s sale had been the latest in a series of independent label sellouts including Island Records and Geffen Records (both sold to Universal for $300 million and $550 million respectively), and Virgin (sold for $950 million to EMI). The $2.74 billion paid for the Zomba Group was more than was paid for the purchase of many others labels including Island, Geffen, Virgin, A&M, Motown, Chrysalis, and Def Jam, combined.

Initially, BMG took its time in integrating Zomba with the rest of its labels, hoping that the former independent would lift BMGs worldwide rank from fifth to fourth-largest record company.[47] Calder resigned his position as CEO immediately after the purchase, but stayed on in an advisory position for about another year.[41] In mid-2003, BMG began its worldwide integration of Zomba cutting hundreds of jobs through the consolidation of regional operations.[48] While many of the key managers stayed, and the large offices in the US and the UK remained operational, all of the other regional offices were assimilated into BMG. In addition to the regional mergers, the Zomba and BMG publishing companies were integrated. The US and UK offices remained as stand-alone units, but many of the back-office functions were consolidated into BMG. The Provident Music Group, Zomba’s foray into the Christian music market, was reassigned as a RCA sub-label.[48] By 2004, the record labels were reorganized under the Zomba Label Group.[49]

In 2004, BMG and Sony Music Entertainment merged to form Sony BMG Music Entertainment taking Zomba with it. Though the merger was plagued with controversy and eventually ended with Sony buying out BMG’s stake in late 2008, Zomba executives continued to expand the company’s operations in various aspects. In 2007, as part of Sony BMG integration and consolidation, RCA Music Group and Zomba Label Group merged their international, sales and field staffs to form the BMG Label Group under Sony BMG.[50] RCA and Zomba kept separate groups under BMG, but this configuration was short-lived due to the dissolution of the Sony BMG merger. Zomba is currently owned wholly by, and operates under Sony.

On 2 November 2004 the American Federation of Musicians announced that it had entered into an agreement with Zomba. Effective 1 January 2005, the labor union covered all artists on any Zomba subsidiary labels (and any future labels) under the Federation’s Sound Recording Labor Agreement.[51] The deal ensured that all artists under the Zomba aegis would receive, for the first time, a full range of benefits and protections, among which are scale payments, industry standard working conditions and pension contributions.

In 2005, Zomba formed Zomba Gospel under the Zomba Label Group in an effort to collate its recently expanding gospel labels. Zomba’s interest in gospel began in the form of a distribution deal with GospoCentric Records (and sublabel B’Rite Music) in October 2001, which Zomba later purchased in 2004.[52][53] Verity Records president Max Siegel was charged with heading the new entity which included Zomba labels Verity and GospoCentric, as well as four artist owned imprints: Quiet Water Entertainment (Donald Lawrence), Fo Yo Soul Entertainment (Kirk Franklin), New Life Records (John P. Kee) and F. Hammond Music (Fred Hammond). Distribution was handled by Provident-Integrity for the Christian Bookselling Association, and through Sony Distribution (formerly Sony BMG) for the mainstream market.[54]

Zomba’s publishing division also continued its expansion. In 2006, Zomba Music Publishing purchased the catalogue of the UK-based Strongsongs Music Publishing from the Telstar Music Group.[55] This large acquisition gave expanded Zomba’s rights to many international hitmakers to include Metallica, Craig David and Dannii Minogue among others. Beginning with the appointment of David Mantel in 2005 as the head of Zomba Music Publishing US operations, the company began to take a different signing approach that focused on unknown or unsigned artists. Mantel’s first signing was T-Pain, whose two singles “I’m Sprung” and “I’m N Luv (Wit a Stripper)” hit number 8 and 5 respectively on the Billboard Hot 100.[56] This type of signing was also used in the records division were artists or producers were given their own imprint. In October 2008, Zomba made an all-inclusive multiyear joint-venture deal with Hitz Committee Entertainment, and imprint in the making for almost 5 years by Jive A&R VP Micky “MeMpHiTz” Wright.[57] Beginning in 2008, Hitz Committee consists of a record label under Sony, music production, music publishing, artist and producer management, and TV and film projects.

Company structure[edit]For a list of all companies associated with Zomba see: List of Zomba Group companiesThe structure of the Zomba Group during the independent era (1975 to 2002) is difficult to pinpoint exactly due to the private nature of Clive Calder’s managing style. During that period, Calder’s private investment group Summer Shore NV controlled the Zomba group.[58][59] The company began as Zomba Management and Publishers as early as 1975. They expanded to the US, first with a publishing sector in 1978, then a records division in 1981 while the management and publishing divisions became separate companies. Also sometime during that period, they started a production division initially called Zomba Productions Ltd., which would become Zomba Recording Corporation. From a legal standpoint, Zomba’s holdings are divided into their music publishing business (Zomba Music Holdings BV) and music recording business (Zomba Record Holdings BV).[59]The former holds only music publishing (i.e., written music) rights, while the latter holds all of the recorded music rights, along with some publishing groups acquired over the years. In addition to those two, there is another holding company called Zomba Entertainment Holdings BV.[60] Below is a breakdown of most of the companies and divisions that have been owned by Zomba. Since the BMG integration in mid-2003, and further integration into Sony Music in early 2009, the exact status of some companies is not known. As much detail has been provided to illustrate the current status of these companies.

Records division[edit]Zomba labels were operated under the Zomba Label Group from approximately 2004 until 2009 (now part of the RCA/Jive Label Group. The Provident Label Groupcontained other labels after its purchase in 1997, but is no longer a part of Zomba. The Windsong purchase gave Zomba control of labels through a variety of company structures including Pinnacle and Rough Trade, however, some of these labels are no longer a part of Zomba. These three groups are organized separately below, followed by a list of inactive or formerly owned labels from various periods.
Zomba’s first, and flagship label is Jive, formed in 1981. Since then, Zomba has acquired and created a variety of labels and label groups that either operate independent from, or under Jive. During its independent period, the various record labels under Zomba all reported directly to a records division.
There was no formal public face for the labels until BMG formed Zomba Label Group in 2004. Though the term “Zomba label group” or “Zomba Group records division”[16][61] had been used previously to refer to the various labels owned by the company, it wasn’t until then that an actual company was created to control the labels specifically.[49][62] The Zomba Recording Corporation continues to coordinate production activities on many Zomba subsidiary releases.From 1981 until 1987, Zomba labels were distributed by Arista. Following that, Zomba signed a deal with RCA for distribution that lasted until 1991. The end of the deal coincided with BMG purchasing a large share of RCA and a deal with BMG was signed for distribution. BMG remained the North American distributor for Zomba until after the purchase in 2002, however, other regions had various other distributors over time.[59] EMI became an important distributor for Zomba in Europe via Virgin Records, but distribution details are listed below in the Regional Branches section. Zomba only controls one small vinyl pressing plant, therefore, most of their manufacturing has been outsourced to companies such as Sonopress (BMG affiliated), Sony and Technicolor.[59]In 1996, Zomba acquired 75% of UK distributor and label group Pinnacle, 80% of the Rough Trade label and distribution in the Germany/Switzerland/Austria (GSA) region, and 100% of Rough Trade Benelux. Effective 8 July 1999 Rough Trade Records was renamed Zomba Records GmbH and the Rough Trade sales and distribution arm was renamedZomba Distribution, operating as a division of Zomba Records GmbH.[25][63] As of the BMG purchase, Zomba conducted its own distribution in the UK (with Pinnacle), Germany, Austria and Benelux (all with Zomba Distribution). In those areas, Zomba also distributed for other, smaller independent labels. In France, Italy, Portugal, Spain and Sweden, Zomba had its own marketing and sales, however, distribution was handled by EMI (through Virgin in most cases). In Finland and Greece, Zomba material was exclusively licensed to EMI who controlled marketing, sales and distribution. North American distribution has almost exclusively been with BMG. Following the BMG purchase in December 2002 and subsequent integration in June 2003 and the end of contracts with EMI (also in June), all distribution has been handled by the local BMG companies. When BMG merged with Sony, Sony BMG became Zomba’s distributor from 2004 until early 2009. Since then, Zomba products have been distributed by Sony Music since Sony purchased BMG’s interest in their joint-venture.Zomba Recording Corporation[edit]Zomba Recording Corporation (previously Zomba Productions Ltd., and sometimes colloquially referred to as Zomba Records[64]) is a music company and division of the Zomba Group. The US affiliate is Zomba Recordings LLC[51] and the UK affiliate is Zomba Records Ltd. The company also runs an investment and financial services company called Zomba Ventures Inc.[65][66]Primarily a production company, Zomba Recording Corporation coordinates various activities for the recording process including hiring musicians, managing studios, and organizing production, mixing and mastering personnel. Recordings made under the coordination or supervision of this division are usually marked with the phrase “An Original Sound Recording Made by Zomba Recording Corporation (or Zomba Recordings LLC/Zomba Records Limited/Zomba Productions Limited).” While not strictly a record label, Zomba Recording Corporation appears on most of the various sublabels that Zomba owns. Additionally, the minimal manufacturing as well as some distribution that Zomba does on its own is run through this company.

Battery Studios is the name of Zomba Recording Corporation’s chain of multi-room facilities often used in the production of Zomba artists. The main facility, located in New York City, is constantly associated with high profile clients including R. Kelly, ‘N Sync and Britney Spears. The studio features three recording and mixing studios with SSL 9000, SSL 4064 G+ and Euphonix CS3000 consoles and Pro Tools MIXplus systems.[67] Battery Studios was originally opened in London before the New York branch existed, and at one point consisted of six locations in London, four New York locations, two Nashville locations, and one location in Chicago.[68] However, Zomba closed its London branches towards the end of 2001 and the others followed soon after leaving only an unknown number of New York locations.[33] In addition to Battery studios, Zomba Recording Corporation began a relationship with the established Swedish studio Cheiron Studios and its production personnel. The studio had operated since the mid eighties (as SweMix), and from 1996 until its closure in 2000 it shared a joint production and publishing venture with the Zomba Group.[69][70] Apart from the actual studio, the venture included a production team that helped forge the sounds of Backstreet Boys, Britney Spears, and ‘N Sync.

In addition to recording studios, Zomba Recording Corporation operated Dreamhire Professional audio Rentals. Dreamhire opened in 1984 with operations in London,New York City (1989) and Nashville (1988). The London branch closed in 2001 followed by Nashville in 2003. Dreamhire also included Hilton Sound, a hire operation purchased by Zomba in 1996.[71] Since November 2003 following the BMG purchase, Dreamhire is no longer a part of Zomba and runs independently as Dreamhire LLC from one location in New York City, owned by Chris Dunn, ex-bass guitarist from UK band (City Boy (band)) which recorded 5 albums all produced by Mutt Lange.[72]

Zomba Label Group[edit]

During its existence, the Zomba Label Group featured all of the Zomba-related labels that BMG purchased in 2002. The current Battery Records is unrelated to the previous defunct imprint of the same name. Listed below is the structure of the Zomba Label Group immediately before its rebranding and dissolution in 2009.

Provident Music Group[edit]

Main article: Provident Label Group
The Provident Music Group was created by Zomba in 1997 as an amalgamation of their Christian music activities. Zomba had purchased Brentwood Music Group in February 1994 and founder Jim Van Cook was charged with leading the new music group. The group consisted of three sections: Provident Label GroupProvident-Integrity Distribution and the Brentwood/Benson Publishing Group.
As part of the music group, Zomba amalgamated their Christian labels under the Provident Label Group. The new group initially consisted of Brentwood Records, Benson Records and Reunion Records, though Brentwood was shut down in 2001. Since then, other labels have been added. Under Zomba, the Provident Label Group had this configuration:
After BMG bought Zomba in 2002 and integrated the company in June 2003, the Provident Music Group was moved under the aegis of RCA with the exception of the Publishing division which was moved under BMG Publishing (Provident would later create its own publishing division, Essential Music Publishing, with no connection to Zomba[73]). BMG Publishing was subsequently sold to Universal, along with Brentwood/Benson. In 2008, when Sony bought Bertelsmann’s stake in their joint Sony BMG venture, the rest of Provident became part of Sony Music Nashville.[74][75]

Windsong (Pinnacle, Rough Trade, Music For Nations)[edit]

In 1996, Zomba acquired the holdings of Windsong International. The deal gave the following controlling interests to Zomba:[24]
Rough Trade GSA was renamed Zomba Records GmbH, while the Benelux operation (which only had distribution at the time) was absorbed into Zomba Distribution. The Rough Trade name only remained as an imprint of Zomba Records GmbH. Before being absorbed into BMG’s operations, Zomba Records GmbH consisted of the following regional labels, most of which focused on electronic dance music:[76]
  • Advanced
  • Air
  • Form & Function
  • Our Choice
  • Reihe Ego
  • Rough Trade
  • World Service
Zomba Records GmbH was integrated into BMG’s German operation along with the other regional offices. The Rough Trade name was later reacquired by Geoff Travis andJeanette Lee who eventually continued it independently. When BMG restructured Zomba in 2003, Windsong/Pinnacle was moved under Bertelsmann’s Arvato AG. Through amanagement buyout, Windsong/Pinnacle gained its independence in early 2008, but was forced into administration late in the year due to the economic crisis.

Zomba International Records Group[edit]

Zomba International Records Group managed the various regional branches opened as early as 1997 and as late as 2003. The group served to solidify the operations in these regions, some of which already had small offices with activities from scouting, promoting (such as Sweden), or as much as distribution for smaller labels or operating a few regional record labels (such as Germany). Following the BMG purchase, all of the remaining regional labels (with the exception of the main US and UK offices) and the Zomba International Records Group activities were merged with their respective local BMG offices in mid-2003.
Name Opened Distributor[1] Location[77] Director
Zomba Records Australia Pty. Ltd.[78] 24 May 1999 Sony Australia Sydney, Australia Scott Murphy (March 1999 – Feb. 2001)Paul Paoliello (1 March 2001 – ?)[29]
Zomba Records (Canada) Inc.[79] 1 July 1999 BMG Canada Toronto Laura Bartlett
Zomba Records APRO Pty Ltd.[80][81](also called Zomba Records Singapore) 1 July 1999 BMG Singapore Singapore Julius Ng
Zomba Records GmbH (Germany)[63] 8 July 1999[2] Zomba Distribution Köln, Germany
Zomba Records GesmbH[60] 8 July 1999[2] Zomba Distribution Vienna, Austria
Zomba Records GmbH (Switzerland) 8 July 1999[2] Zomba Distribution Zürich, Switzerland
Zomba Records Benelux[82] 8 July 1999[2] Zomba Distribution Hilversum, Netherlands Bert Meyer (1999–2003)
Zomba Records France SARL 1 October 1999 Virgin Paris, France
Zomba Records Scandinavia AB[3][26][83] 1999 Virgin Stockholm, Sweden Bert Meyer (1999-??)Magnus Bohman (main office, 2000–2001)Kenneth Ruiz-Davila (Norway, 2000–2001; GM of region after 2001-09-03)[83]
Zomba Record Holdings BV[26] 1999 Zomba Distribution Brussels, Belgium Thierry Thielemens
Zomba Records New Zealand Ltd.[84] 1 July 2000 BMG New Zealand Auckland, New Zealand Morrie Smith
Zomba Records Korea Ltd.[85] 1 July 2000 Rock Records Seoul, Korea Chang-Hak Lee
Zomba Records Espana SA[26] 1 July 2000 Virgin Madrid, Spain Andres Ochaita
Zomba Records Italy SRL[26] 1 July 2000 Virgin Milan, Italy Roberto Biglia
Zomba Records Japan KK[81] 1 October 2000 Alfa Records[86](First)Avex (Second) Tokyo, Japan Tak Kitazawa
Zomba Records Portugal[87] 1 July 2001 Valentim de Carvalho Lisbon, Portugal Andres Ochaita
Zomba Records Brasil Ltda.[88] 1 July 2001 Som Livre Rio de Janeiro, Brazil Martin Davis
  • [1]: Distribution information in this chart is from approximately 1999 until the BMG integration.
  • [2]: Zomba Records in Germany, Austria, Switzerland and Benelux had been in operation as Rough Trade since Zomba had acquired the company in 1996. 8 July 1999 marks the date the Rough Trade name was dropped in favour of Zomba.
  • [3]: The Scandinavian operations started with offices in Norway and Denmark. When Kenneth Ruiz-Davila was appointed the head of Zomba Scandinavia in September 2001, the Swedish offices were also moved under the larger company.[83] The Denmark and Norway operations later closed on 1 July 2002, leaving the Swedish office remaining.[89]

Other inactive/former labels[edit]

Aside from those listed above, other labels that have been associated with Zomba over the years are listed below.
  • Associated Production Music (APM) – Production music library and music services company. Was initially a joint venture between Zomba/Jive and EMI. Still Currently operating under unknown ownership.[90]
  • Conifer Records Ltd. – Classical label formed in 1977, purchased by Zomba in 1992 and sold to BMG in 1996.[91]
  • Internal Affairs
  • Trademark Records – Formed under Zomba Records Australia.
  • X-Over Recordings – Formed under Zomba Records Australia.
  • Zed Beat
  • Zomba Production Music – UK-based supplier of Library and Production Music intended for professional use and not released to the general public. They released music through these various sublabels.[92] Not to be confused with Zomba Productions Ltd. which is an earlier name of Zomba Recording Corporation.
    • Chappell Recording Music Library
    • Bruton Music – Label of the Bruton Music Group purchased by Zomba in 1985.
    • Firstcom Music Inc.
    • Galerie
    • Connect 2 Music
  • Zomba Special Projects – Imprint established in 1997 for specific projects like releases sold through McDonald’s restaurants.[93]
  • Zomba Video – Imprint used for music-related video releases.
  • Under Jive
    • Battery Records – Unrelated to the current Battery Records, this was a dance label active in the nineties.
    • Dance Jive – Dance label active in the early 2000s.
    • EBUL – Record label owned by Pete Waterman Entertainment Ltd. and Jive. The label was largely used to release material by Steps.[94]
    • Jive Afrika – Created in 1984 for release of South African material (most prominently, Hugh Masekela).
    • Jive House – Formed in the mid-nineties for house music.
    • Pepper Records – Formed in the late nineties.
    • Violator Records – Purchased by Jive in 2003. New York hip-hop label run by Chris Lighty and Mona Scott.
    • Worx Records – Formed in the mid nineties for electronic music.

Publishing division[edit]

Zomba Music Publishing Ltd. (sometimes colloquially referred to as Zomba Music or Zomba Music Publishing Group) is the publishing division of the Zomba Group of Companies. Initially known as Zomba Enterprises Inc., the division officially changed names in 1994 and became the Zomba umbrella company for publishing. Since then, Zomba Enterprises is the name used for Zomba’s ASCAP affiliate, while Zomba Music Inc. is the name of the BMI affiliate.[95][96] The holding company that controls most Zomba publishing interests is called Zomba Music Holdings BV. David Mantel has been the president of Zomba Music Publishing since 2005, when he took over for Richard Blackstone. Tim Smith is the GM of the UK affiliate Zomba Music Publishing Ltd.[56] There are various other publishing entities under Zomba, some of which are vast libraries acquired over the years, and some of which are small groups, sometimes representing a single artist. Below is a list of Zomba’s publishing subsidiaries:[65][97]
  • Bluey Tunes Productions Ltd. (England)
  • Brentwood Music Inc.
  • Brentwood-Benson Music Publishing Inc.
  • Bruton Music Ltd.
  • Firstcom Music Inc. (USA)
  • Firstcommusic Inc. (USA)
  • Grantsville Publishing Ltd. (England)
  • Grever International S.A. (Texas)[98]
  • Marlowlynn Ltd. (England)
  • M56 Publishing Ltd. (England)
  • Street Music Ltd. (England)
  • Take Out Music Publishing Ltd. (England)
  • Zomba Enterprises Inc.
  • Zomba Golden Sands Enterprises, Inc.[98]
  • Zomba Melodies Inc. (New York)
  • Zomba Music Inc. (New York)
  • Zomba Music Publishers Ltd. (England)
  • Zomba Silver Sands Enterprises Inc. (Texas)
  • Zomba Songs Inc. (New York)
Zomba has limited activity in the classical music publishing sector, however, they are quite active in the pop music publishing and production music. At the time of the BMG purchase, Zomba had pop music publishing operations located in the UK and Benelux, while every other territory was sub-published with BMG. Production music operations were located in the UK and France with smaller operations in Sweden and the Netherlands. In Germany and Austria, Zomba and BMG owned publishing rights through jointly-owned companies. Finally, in Spain and Italy, Zomba compositions were licensed exclusively to BMG.[59]
In mid-2003, BMG integrated Zomba’s publishing to form BMG-Zomba Music Publishers. In 2007, Vivendi purchased the BMG-Zomba publishing company and placed it withinUniversal Music Publishing Group, becoming the worlds largest music publishing business.[99][100]

Management companies[edit]

Zomba’s first enterprise was a management company in London called Zomba Management and Publishers, with Mutt Lange as one of their first clients. His success allowed the company to expand, and eventually the companies split into two entities, creating Zomba Management. Zomba management represents music producers and artists.[62]Zomba Screen Music was formed in 1997 as management company for film composers.[101][102] In May 2001, Zomba created Ingenuity Entertainment a full-service management company for artists, producers, composers and music supervisors in the film and television industries.[8][103] The Los Angeles-based company serviced both new and veteran artists, offering music production and business affairs services. Ingenuity Entertainment combined a recently formed management firm, also called Ingenuity, with Zomba Screen Music.[103]

Film/television services[edit]

Most of Zomba’s activities in the film and television industry are music related. Zomba Screen Music is their full-service management company for film and television composers. In addition to management, Zomba! Music Services was formed in 1989 as a division offering prerecorded music and publishing services for soundtracks, television and commercials.[104] This also had the effect of promoting Zomba music through the television and film industry.[105] In 1995, Zomba purchased the well-established Segue Music Inc., a film and television music editing company providing music supervision, temp tracks, prerecords, playbacks and soundtrack production.[106][107][108] Zomba also had a joint operation with Portman Entertainment called Portman Music, a soundtrack related company Coombe Music International Ltd. as well as a small film production companyZomba Films. In 2005, Zomba began SEE Music, a joint venture with the recently combined BMG/Zomba Publishing and FirstCom Music specifically for motion picture advertising.[109]

See also[edit]

External links[edit]

Official Site


  • Cohen, Jane; Bob Grossweiner (6 July 2007). “Industry Profile: Ralph Simon”. Retrieved 25 September 2009.
  • Knopper, Steve (2009). Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age. New York: Free Press. (primarily Chapter 3)
  • Pederson, Jay (2003). International Directory of Company Histories 52. New York: St. James PressISBN 978-1-55862-482-5. Retrieved 25 September 2009.
  • Scott, Ajax (August 1996). “Clive Calder”. Music Business International 6 (4).
  • White, Timothy (5 May 2001). “Billboard: The International Newsweekly of Music, Video, and Home Entertainment”. Billboard 113 (18). (this issue features a “Special Report” with multiple articles about Zomba)

What’s Love Got To Do With It?

Friday, November 26, 2014-Written by Tiwanda ‘Ne Ne’ Lovelace

Bio Email Website | Twitter | YouTube | Online Store 

Note: Pay close attention when the  text formatting is reduced in size!
This is not deliberate or intended but unfortunately this is an unexplained
formatting issue that will not allow update/correction to the readers view.

What’s Love Got To Do With It?
It’s not about one man’s actions, this was a joint effort!

I thought Copyright Laws were supposed to protect writers! I have been
copyrighting my lyrics and melodies since 1991.
Even with Copyrights, I was denied representation.
Even with Lawsuit filed in accordance with Federal Rules on Civil procedures, I was not given an opportunity to address my claims in court!

Note: I filed a lawsuit which provided these companies names
(to the courts and other 
entertainment attorney’s) for using my works; which, included lyrics and melodies. All the while they were one in the same, working together.

Copyrights was NOT the Issue!


These songs were listed in the publishing contract, listed in notice of
copyright infringements, court docs, and were played on the radio by
major artist signed to BMG, EMI; throughout the years starting after Zomba music publishing contract.

Obviously, musical works were passed around and definitely used! 

Can you guess why a Major Music Publisher wouldn’t want their 50% -Fifty percent? 

That does not sound like teamwork to me…more like Tag Team!

Chapel Deal Letter sent to 
Zomba/Jive re: Infringements 
Less than a
month later, on March 23, 1995 
Handwritten Letter sent to Zomba – Re-typed:
137-139 W. 25th
New York, NY
Attn: R. B –
Zomba, rep,
It has been
brought to my attention that an artist by the name of 
Desire (real name
with the help
of Michael Powell, Art 
& Rhythm’s – Larry Roc Campbell, Paul D. Allen, and
Larry Hatcher
has received a 6 album deal with Warner Chapel 
label releasing single in May 1995.
{Now how
would I have a clue if someone didn’t tell me and give me specific’s. This is
the same 
public that
runs around breaking their necks to hurt. I was definitely out of the loop but
seemed reliable and I did supply a lot of material to all parties included.}
I bring this to
your attention because I heard personally and have 
others confirm blatant similarities to
my work and have been derived in full and/or in part from my copies submitted
Paul D. Allen.
of M. Powell’s – Vanguard Studio, Larry Hatcher of 
Hatcher Hits, Larry Roc Campbell of Art
& Rhythm and David Renzer – 
Zomba, rep .I worked consistent with all parties
for a period of
time. I have split sheet for “Baby Stay With Me” and I heard this finished by
I would like
for this situation to be taken seriously. In addition, I would like a copy of a
statement for Hi Five’s song, “What can I say to you to justify my love” and a
copy of
(signed) split
sheet for my records. 
As a whole,
they have collected 30 or more songs from me and they 
are all on this same
Larry Roc
Campbell laughed and told me that he received money 
when I signed with Zomba. How is this
I certainly
hope that you will handle my administration of copies of 
materials that were
sent to 
David Renzer –
Zomba, rep; Cherry, 
Drew D – Zomba, rep, and Kymberlee Thornton – Zomba, rep.
Paul D. Allen
received a copy and signed split sheets with me. 
also have copyrights for the materials:
1. Why can’t I?
2. Baby stay
with me
3. Is the sex
still good
4. Casual Love
5. With your
Larry Hatcher
received more than 14 songs. Larry Roc Campbell 
received more than 20 songs.

 Zomba/Jive’s Denies having Songs involved in copyright infringements…

July 20, 1995 Letter from Zomba regarding investigation of my allegations:

Zomba’s Answer to Allegations:
This was their response to my allegations and complaints regarding stolen works. 
Of course, I didn’t sign this mess…$1000.00???

Note: I filed a lawsuit which provided these companies names
(to the courts and other entertainment attorney’s) for using my works; which,
included lyrics and melodies. 

All the while they were one in the same, working

Fix Was In-
Case dismissed prior to Zomba Response
dated August 7, 1996
On July 22, 1996, Courts dismissed my
case I never had an 
opportunity to go before the judge and be heard. I
never had 
my day in court.
Retyped for easy translation – 
Copy of 1
is shown below:
Order of Dismissal Ignoring Violence Page 1 – Retyped
BMI-ZOMBA-JIVE, Defendant.
Civil Action No. 96-CV-12270-DT

This matter is presently before
the court on Plaintiff’s response to the court’s show cause 
order of June 21, 1996.
Plaintiff’s original complaint
consists of (1) a 2-page, handwritten 
document, (2) an 18- page typewritten document, and (1)
a hefty 
stack of miscellaneous papers, ranging from assorted correspondence, to
grievances with the postal service, to contracts.
The gist of the complaint appears
to be that defendant allegedly has deprived Plaintiff of 
royalties due her for various
musical compositions.
The court’s show cause order noted
that the complaint does not 
comply with Federal Rules of Civil Procedure 3(a) (1),
8(a)(2). 3(a)
(3), and 10(b), and required Plaintiff to show cause why the 
complaint should
not be dismissed for its failure to comply with
these pleading requirements.
– (end of page 1 of Courts Order).
NOTE: My revised complaint complied
completely with Fed. 
Rules of Civil
Procedure but the courts ignored..
Response dated August 7, 1996
The revised
complaint complied completely 
with Fed. Rules of Civil
Procedure but the
 courts ignored…
MI’s Order
of Dismissal – Ignoring Violence Page 2 – Retyped
Plaintiff has
responded to the court’s order by filing the following documents: a cover
sheet, an 
complaint. a “retaliation report” and a personal letter.
Although it is
now in paragraph form, the amended complaint 
continues to be unorganized and incomprehensible.
It is not a
short and plain statement of the basis for plaintiff’s claims and for the
jurisdiction as
Fed. R. civ. P. sia) (1) and 8(.3) (2) require.
Plaintiff’s complaint still does not abide by the Federal 
Rules of Civil Procedure
pleading, it
must be dismissed. 
Plaintiff’s complaint must also be dismissed pursuant to 28 U.S.C. S
1915(d). The Sixth Circuit has held that an in Forma Pauperis complaint may be 
dismissed as
frivolous if the Plaintiff cannot make out any claim that is rational in law or
in fact.
Lawler V.
Marshall, 898 F.2d 1196 (6th Cir. 1950).
The Lawler
court noted that “the facts must be delusional to be frivolous.” Id,
at 1199. 
Applying this standard
to the present case, Plaintiff’s response to the court’s show cause order is
irrational and,
indeed, delusional. 
In paragraph 6 of her amended complaint, Plaintiff states
“Zomba was
notified by phone and mail, repeatedly, of 
infringements, threats, and other coincidental
acts of violence . . .”
In her personal
letter Plaintiff asserts: while on my way to file this with the Federal Courts,
/ was 
sent on a wild
goose chase . . . and I had people related to the music industry accept 
for my… 
(End of page 2
of Order of Dismissal)
This is what
I refer to as the Jedi-mind-trick…just wave your 
hands and say the
words and it never happened. 
I didn’t imagine bullet holes, family
friend shot up, family 
member assaulted, etc..

On July 22, 1996 the courts dismissed my case as frivolous. Judge 

Bernard A. Friedman cited that my show cause order was bizarre, 
irrational and indeed delusional. Judge Friedman continues to state
 that the complaint is fanciful and delusional. I didn’t know that 
copyrights and certified mail receipts were miscellaneous papers.

So, let me get this right…I imagined
my house 
getting shot up, double homicide and Family 
members assaulted.

The judge could have assigned counsel
made another decision. Talk about getting 
assaulted, felt violated all over

I agree my initial letter to the court was emotional 

but it didn’t negate my request in accordance Federal
 Rules of Civil procedure, Rule 16 (a)(b)(c); Also 
under U.S.C., Title 15 28,19,49; Under 28 U.S.C, 1915(d) – Plaintiff request counsel be assigned…preventing protraction due to lack of management.

I know that this was a bold move but considering the

 situation there was no other recourse.
Summary of Events
This is my 1st letter sent with
Complaint which summarized events:
Retyped for easy translation- A Copy
is Shown Below:
Explanation of Exhibits
Enclosed documents will substantiate
claims that Zomba and 
Associates set out to defraud my company, Seven West 
Productions, and I, Tiwanda “Ne Ne” Lovelace, out of 
millions of
dollars in royalties. In the process, Zomba/Jive 
has allowed and are
responsible for my loss.
The materials in question have been
discussed in detail with
 Zomba’s representatives- (refer to exhibits 4-A, 4-B,
5-A and 
Zomba not only listed songs on page
23 of co-publishing 
contract dated 10/16/93, but they introduced me to other
 writers in their publishing house to obtain my lyrics and 
melodies, in order to
rework materials without giving proper
 credit (refer to Exhibit 2).
In one instance, works submitted to
Zomba and Zomba’s 
writers was one of the first songs mentioned that was 
reworked and in addition to this, another part of a completely
 different song was
Song number 10, Lies/ It U Loved Me
performed by MJJ’s 
Brownstone (Exhibit’s 1-A, 5-A, 5-B, 7-A and 7-B) was on 
MTV, during their live show, singer closed song with more 
recent materials submitted
to Zomba and their (other) writer.
While under contract with Zomba, I
submitted over forty 
(40) songs, of which I have retained receipts for and 
telephone bills to sustain the fact that I held up my end of 
These songs we discussed each time I
submitted materials 
(refer to Exhibit 4-A and 4-B). This conflicts with Zomba’s 
letter in response to notices sent from me to them on March 
14, 1995, whereas,
Zomba denies having songs on file (refer 
to Exhibit 12.
If there are no songs on file, then
how could they copyright 
the songs I submitted with proper splits and writers
this in addition to other facts prove Zomba never intended to 
follow agreement
to administrate my publishing as agreed.
The only explanation for the initial
song placement could 
have been was to have me enter into agreement or contract 
with Zomba, giving them administration over royalties 
derived from the placement
thru their record company, Jive 
Once I signed agreement I was
immediately introduced to 
other Zomba representatives in order to place my
works on
 more artist, only to be given run around, I was assigned to 
different people since October, 1993.
Meanwhile, I was submitting works and
waiting patiently for
 my royalties from first placement, all the time I was 
informed that they liked my materials.
They even supplied music tracks for
me to write lyrics to, 
only to rework songs, stall and lie to me. Zomba
introduced me to an associate of Zomba, who offered and 
attempted to
have me sign under his management contract,
 therefore, giving them full legal
power over me and my 
Of course, I refused to sign with
anyone in affiliation with a 
company that had already neglected to handle business 
properly (refer to Exhibit 2).
Zomba did not include me as a writer
on the list of Zomba 
writers, showing real intent. Refer to Exhibit 5-A &
5-B, page
 23, Eleven (11) songs are listed in (the actual) contract dated 
18, 1993, between Lovelace and Zomba.
One by one they have been used in
pieces- some used 
compilation of more than one song.
Zomba has not attempted to handle
this matter efficiently or 
professionally, you would think that a company that
supposed to collect all royalties for its writers in order to get 
paid or
their share would be pleased to step
in and administer publishing…
However, Zomba was notified in March
of 1995 but 
responded approximately four (4) months after being 
notified of
Notice was also sent in regards to my
standing with company
 and other concerns on March 4, 1995, this notice went
 completely unanswered (refer to Exhibit 7-A and 7-B).
Zomba representatives have gone so
far as to commit 
mail-tampering offenses- (refer to Exhibits 7-A d 7-B),
Returned signature cards were signed
by same agent at 
Zomba 137-139 west 25th St. New York NY 10001 and at 
Indursky, Schindler, and Goldstein, P.C., 152 West
 57th St., 30th fl. New York, NY 10019.
I mailed two sets, one to Grubman,
Indursky, etc., and one 
each to Zomba representatives involved, in each
Zomba received their packages first.
One set of packages were sent on the
4th day of March, 
Zomba’s agent signed and received package within two (2) 
days, when Grubman, indursky’s agent signed within three 
days or one day after
One set of packages was sent on the
14 day of March, the 
previous Zomba agent signed this time for Grubman, 
Indursky at 10019, when Zomba’s Zip code is 10001-
(Note copies in Exhibit 7-A &
Packages were sent on the 14th day of
march, Zomba’s agent 
signed 03/17/95 – three days later, however, Grubman, 
Indursky’s agent signature-(signed by same signature as 
03/4/95’s-Zomba)- was
signed and dated six (6) days from 
original date sent.
The first time I called the New York
Barr. Assoc., I was 
informed, after obtaining my information, that I could not
referred to any attorneys, without explanation.
Zomba/Jive shared my works with other
major companies. 
Therefore, creating a situation; whereas, most attorneys in 
the music industry would be in conflict of interest, due to the 
fact that my
works were scattered and used by more than one
 major label.
Keeping in mind that the major’s
contract with each other 
and has a ‘monopoly’ situation (refer to Exhibits 2,
8-A, & 8-
B – shows accessibility and Zomba’s contacts, thus; proving 
the major’s work together to control and dominate the 
music industry.
It turns out that one of the
attorneys I dealt with was very 
familiar with this company and its tactics but
neglected to 
inform me, due to the fact that he has/had or still has 
with a major music person here in Detroit who has 
participated in copyright
infringements and has
benefited by Zomba’s actions (refer
to exhibit’s 7-A, 7-8, 11-A,
 11-B, 8-A, and 8-B).
I have filed complaints with Attorney
Grievance Commission 
regarding the attorneys listed in Exhibit’s 1-B, C, &
In accordance with contract Zomba, my
publisher, neglected to file copyrights for works submitted 
(refer to Exhibit 11-A and 11-B). I was copyrighting all my 
works prior to signing
with Zomba.
The song entitled “What Can I
Say To You To (Justify My
Love?) performed by Hi Five and Nuttin NYCE, placed
Jive’s Label, was released on four (4) projects; Hi Five’s 
Album, Hi Five’s
Greatest Hits album, released as a single, 
and on Nuttin NYCE’s album. I never
received ownership 
papers or proper documentation for a song that I was given 
credit for – (refer to Exhibit 3-A & 3-B.
It has also been brought to my
attention that works in 
question has been released overseas with my vocals used 
without my consent. Zomba, as of March 15, 1996, made an 
offer of $1,000.00 and
a release agreement, which, of course, 
releases them from any lawsuits that I
may file in the 
I refused this offer simply because I
know it was an attempt 
to minimize my situation and make light of damages 
incurred. Since dealing with Zomba and associates, I have 
had to have surgery
in order to remove a (4) four inch cyst 
that the doctor says more likely
derived from stress.
I have been threatened and told that
I have been blackballed
 from the music industry. I have had my family members 
assaulted and I have had an associate who assist me with this
 business) shot.
Most incidents occurred during the
waiting period after 
notices were sent to Zomba, those four months were the 
longest months of the year, especially since I hadn’t figured 
out why they were
denying my rights and why they didn’t 
respond to materials that their
representatives had stated
 were acceptable and then turned around and
what was discussed.
Zomba has neglected to honor any of
their few responsibility 
to me after receiving my signature on contracts.
Zomba failed to correct dispute
caused by Zomba between
 Hatcher and myself, then deliberately caused conflict 
between myself and Art & Rhythm, let’s not forget the 
conflict started
between writers on their staff of writers.
Anyone can glance at songs listed in
contract on page 23 and 
copyright copy in exhibit’s 5-A, 5-B, 11-A,11-B, 11-C,
addition to this, compare them to songs done by artist 
mentioned in casting
list and songs on the charts.
The copyright copies of songs listed
in collection I and the 
songs from Collection’ II and Collection IV have
similarities in titles and lyrics, one after the other.
As you compare song titles and lines,
it will be easy to identify
 the Who? What? and When?, even the Why?, Sure
have the same ideas at some point and time; however, 
contract dated 10/18/93
list songs and from this list, anyone
 can conclude that these songs, recognized
in contract, has 
been used one by one, compare to works released over 
summer of
94,95, and 96.
The coincidence of this happening by
mistake or simply by 
chance is impossible considering how many songs were used 
and who had access.
I signed with Zomba due to the fact
that I had worked with 
other local production companies and the contract
referred to 
all works before and after, this was to protect me from having my
works stolen or misrepresented.
It turns out that they were
responsible for infringements or 
aware of copyright infringements prior to
contracts to me (refer to casting list in exhibit’s 8-A & B, 
shows names of contacts I made earlier in my career).
As I back trace my steps with the
music industry, I have 
found out that people that I had previously worked with
always in connection to one label or another.
I learned that demos and works that
were done in order to 
advance my career were reworked and placed on major
 proving this is easy with copyrights and other 
documentation in my possession.
For years I have been a victim of
this music industry, while I 
struggled to fit in, it was never either parties’
intent to assist 
but to retrieve fresh ideas in order to rework and not have to 
share monies or credit.
They can have their industry;
however, I must insist on a proper settlement to make amends for the damages
I’ve encountered while pursuing my goals. 
I am too multi-talented to waste my skills
, greedy companies who do not recognize me as a
 human being.


For more,


When a persons Civil Rights are violated, should the culprits be allowed to walk away because they were able to use money, positions and power to avoid responsibility? 

Currently, these are the tactics that I must continue to endure in 2014…

This is obviously not me but this is what is displayed on a current search for my name with my identifiers under multiple false charges!

Defamation of character and current tactics used to

discredit…Why does the police search shows misleading and 

false information? Find out why?

It wasn’t enough to rob me of all my music royalties but they

 had to take housing for decades and every meaningful 

employment with illegally obtained warrants and misleading 

background records!

Share this:
For more detailed information regarding the many groups and what it means to be properly aligned, I encourage you to read Music Business: It’s a Dirty Game!
This title is also in an eBook form available at:
For More info:
Interested in Investing?
Here’s your chance to get involved! For your promotional   copies for review and a copy of SWP, LLC’s Business Plan.
Contact us!
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The Past is a Present!

Friday, November 14, 2014 – Written by Tiwanda ‘Ne Ne’ Lovelace

Bio Email Website | Twitter | YouTube | Online Store 

The Past is a Present!
There are many people that are able to share their life experiences and they are able to obtain support and make a difference. Recently, there are a lot of negative incidents that are being instigated based solely on the past. Although many would like to divert the attention away from actual events by saying that it was in the past, I assure you that I am not living in the past. 

Instead, I have chosen to not only learn from my past but to use both my past and present to assist with my future goals. I intend to manage my publishing company so that I may to help others while I continue to seek assistance that does not require further abuse. 

Obviously, the past affects all of us in the present or some of us would have never progressed past physical slavery, survived wars and overcame other social changes. Let’s be clear, it is not an issue of living in the past when others poor decisions and actions continue to deprive individuals rights for decades.

We should not allow the past or present violations of any individuals rights by ANYONE –  to go un-addressed; especially, when so many have fought to defend these rights! 

In reality, sharing personal experiences from our past assist in having a positive effect on the future. When we choose to deny or disregard the past, we disrespect those who have fought, sacrificed and struggled to affect YOUR Future.

The Music Business has been the ‘tool’ used in this ‘Process of Victimization’ for decades and it continues to destroy many lives even – today.

Unfortunately, this ‘System’ currently allows, encourages and/or initiates the victimization and the vilification of its victims by its action and/or inaction.

After the artist, writer or producer is victimized by the industry, they don’t have the option to obtain resolution while facing extreme opposition and betrayal. 
These individuals are (commonly) denied any opportunity to pursue their legitimate claims in a court of law. Ultimately, they are further victimized by being persecuted and ostracized for simply attempting to exercise their rights as human beings. 

It does not matter if they are not at fault or if they have previously sought counsel or if they have copy-written their work…THEY ARE DENIED ANY OPPORTUNITY FOR JUSTICE!  

Do not be fooled! This is not a matter of simply referencing the past but this process is being actively used and practiced today!
The purpose of this vilification process ensures profits for the greedy and only assist the culprits in avoiding and accepting responsibility for their action and/or inaction. This prevents its victims the opportunity to receive suitable resolution and PROPER compensation for intentional violations inflicted upon the artist, writers and producers!

By sharing our personal experiences, we can assist in having a positive effect on the future.

Everyone has a story and if that story sheds light and can prevent the past from repeating itself, why not listen?

Are we going to continue to allow others to (figuratively) walk into a burning building without at least warning them first?When you choose to deny or disregard the past, not only are you disrespecting those who have fought and struggled to bring about a positive change…you are ensuring that the past repeats itself.

Everyone wants justice but to deny even the Rights to pursue and seek that Justice for ANY reason…is not only deplorable but unconstitutional!

These titles published by SWP, LLC describe and exposes this process; therefore, they equip the reader with greater insight into the methods and tactics used to ensnare, deceive and steal the artists’ lives.
By sharing our experiences, we can then use the past as our gift to future artist, writer and producers so that they may not continue to blindly fall victim to unethical and illegal tactics use to steal lives. 

By implementing the process of properly educating our artist, we can look forward to fewer instances of victimization of our artists, writers and producers. 

In the future, we can hope that there may possibly be enough support so that our future leaders will ensure the enforcement of the laws which have been so easily disregarded in previous decades and our present.Again, this is not a matter of simple referencing or living in the past but this process is being actively used today and no one deserves to be denied the opportunity for justice!

Be prepared for those who facilitate these atrocities for profit and pleasure by educating yourself because well-informed individuals make better decisions!

There are Federal Laws in place that state clearly that for crimes that violate our civil rights…They have no statute of limitations; therefore, no expiration and these culprits can be held liable…under – 

42 U.S. Code § 1983 – Civil action for deprivation of rights

The unethical behavior of creating ‘Conflict of Interest’ scenarios, copyright infringements and the encouraging of signing contracts with low figures are all initiated by entertainment attorney’s. 

These deliberate acts are usually because of or are based upon one or more of the characteristics listed below and committed with the ‘intent to defraud’ and to deliberately violate individuals rights. 

In turn, the facilitators are faced with the threat of being exposed which leads to conveniently manipulated events that causes chaos and backlash directed onto the already victimized and dehumanized artist, writer or producer. 
See previous article on ‘Conflict of Interest’

As I stated earlier, I intend to manage my production/publishing company so that I may to help others while I continue to seek assistance that does not require further abuse and dehumanization. 
I have no doubt that my gender and race has been a contributing factor in my inability to obtain assistance from multiple parties and across many groups. Unfortunately, not everyone is willing to accept that a woman can successful break new ground and affect change in a male dominated business. 
As a female business owner, I intend to seek investors and business partners who are able to recognize the benefits of working with a dedicated individual on such an important project of reducing future victims of the business of music. 
Seven West productions, LLC has developed titles, comic strips and websites that educate and expose multiple tactics and methods in order to provide a much needed product unlike no other. 
I believe that with the assistance of consistent, concentrated major marketing and promotional campaigns sponsored by both; domestic and international investors – it will be nearly impossible to blatantly victimize future aspiring artists. 
I believe that a little competition for an industry that has literally dominated for decades might be healthy. They may be inclined to start taking an active roll in monitoring and ensuring that individuals rights are upheld once the majority of potential victims are aware of the many tactics used. They may even have to start paying all of their employees – artists, writers and producers. 
Although I have received no support from the states, I am confident that there are those still those who will benefit from our products. Since the music business conducts business internationally, I believe that many international consumer, writers, producers and artists – worldwide can definitely benefit from the information provided in our products  
We offer a few of our titles in Spanish, French and German @ 
Everything in these Articles and Books are based on fact and can be substantiated with documentation from public record. I only wish that I had someone take the time to share even a tiny bit of the information with me prior to my decision to pursue a career in the music industry.
Those rights that you believe that you have and are counting own having are simply non-existent. Your copyrights are useless because the courts that are supposed to enforce the laws will bend to the will of the rich and powerful.


I didn’t just run out and write a tell-all book. It wasn’t until many years later that I decided to write my first book on the subject entitled, Music Business: It’s a Dirty Game!
I feel that these Articles and books differ because it doesn’t just give you words from one person’s viewpoint, it provides step by step documentation proving how the artist works are stolen and how they are able to continue stealing lives with impunity!

These books use personal experiences, contracts with major music publisher, copyrights, court records and more to demonstrate tactics used to steal, oppress and destroy lives.
My plight is not just about a broken heart, it’s not about greed, and it’s not about revenge. It’s about obtaining true freedom from oppressors and exposing those who have deliberately used lies, money, power and positions to create a form of enslavement. 
Being that Music is affecting so many lives, a part of everyone’s life and that it is in everything from politics to religion…denying individuals their rights is bad business and we should all make music our business to prevent this from continuing to destroy lives!

About Us:

 Who we are?

Seven West Productions, LLC is a publishing company that is dedicated to educating our aspiring artist, writers and producers regarding the business of music through the use of books, comic strips, framed poetry and blogs.

Why do we sell the items that we sell?         

SWP has compiled a set of publications which provides detailed information regarding methods and tactics used by the Music Business. These thought driven, life changing publications and other products are not easily accessible through mainstream publishers solely due to the information provided within conflicts with the goals of a billion dollar industry.

Tiwanda ‘Ne Ne’ Lovelace of Seven West Productions, was like many other unknown artists who were used and then discarded by the music industry. Lovelace was contracted with Zomba, a major music publishing company for Jive Records – now BMG-Zomba publishing company. It was then placed within Universal Music Publishing Group, becoming the world’s largest music publishing business.

Instead of administering her publishing by securing copyrights and ensuring that her works were protected, the major publishing company neglected all their contractual obligations. However, what they didn’t count on was that she had secured copyrights and maintained all related documentation.

After Zomba’s representatives failed attempts at having her sign management contracts with their Producers, she was provided with music tracks and encouraged to build her own team. Lovelace submitting and discussed 40+ songs, but it became clear that there was no intention of honoring that Agreement.

Other than the small amount received for the initial song placement, she never received a dime but she was forced to listen to her materials on the radio that were ‘gutted.’ However, she did received threats and became victims of acts of violence and civil rights violations.

Having been in the music industry since 1991, our company has more than 21 years of experience. She is now determined to help others before they sign a contract with a major company. It is her goal to ensure that every aspiring artist is fully equipped before they sign.

Unlike most authors, Lovelace will not only tell you exactly how it is but will provide documented proof. She provides uncut truth with a direct approach. These titles are informational and not for entertainment purposes.

Emotionally charged, her titles clearly express the pain and anger of being betrayed, sacrificed and scorned. Her story is of an unknown artist that that was subjected to continued acts of violence and oppression.

Our titles are presented through this artist/writer’s eyes while experiencing multiple tragedies and events. Inside, are the actual documentation and files used to demonstrate some of the tactics used to steal artist lives, deny rights and enslave the artist. These title are compiled using personal journals, public records, contracts, copyrights and other documentation which demonstrates how it is allowed to continue.

We hope that these books reach those who are unaware of the fact that even though the world is changing; it doesn’t change for all.

Although some have been treated horribly by many, we should still treat people with courtesy and decency. We believe that this is where real change can start.

We also recognized that well-informed people, make better decisions so by fully equipping our youth with knowledge obtained from others experiences, we can prevent them from being victimized by the business of music. 


Where you are located?

We are currently located in Las Vegas, NV  – U.S A


When did we start this business?

Although legally established in February 2013, Seven West Productions was originally created out of Detroit Michigan in April, 1995 as a music production company under a Co-Publishing agreement with Zomba Music Group/Jive Records.

Currently, Seven West Productions is a publishing company designed to provide a voice to those who would otherwise be unable to express themselves. SWP released it’s first publication in January 2012 and has continued to add to our collection.


Who are the people on your team?

SWP is a very small group of people who support the companies goals and aspirations.

Tiwanda ‘Ne Ne’ Lovelace’s, Author & Founder of SWP, LLCBIO

 What are our plans for the Future?

SWP, LLC  has plans to incorporate in 2015 in an effort to expand our reach and involve others who share our vision. 

We are currently seeking investors; both, domestic and international. 

We offer some publications in other languages; such as, Spanish, French,etc…

We are seeking business partners who would like to participant in a positive and profitable venture!


Interested in Investing?

Here’s your chance to get involved! For your promotional   copies for review and a copy of SWP, LLC’s Business Plan.
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Other Opportunities Available:

Become a Re-seller with our 

Platinum 30/40/50 Program! 

SWP, LLC has developed this program in order to offer multiple groups, organizations or other companies an opportunity to raise funds and to create awareness while educating our aspiring artist, writers and producers!

These entities can receive up to a 30% – 50% discount on publications/products designed and intended to prepare others for a future career in the music business.

These publications/products may be used and sold by any authorized re-seller for a profit at select events and/or fundraisers upon completed agreement.  For details and pricing, please refer to the SWP, LLC Platinum Member Agreement.


For more information Email:

or You may view the entire presentation below or at: Click here.                                           

You may download a PDF of this Agreement at:

Please provide your email address, contact name and select the Program that you wish to utilize.


Reference Material:

The Civil Rights Acts does not contain a statute of limitations for section 1983 actions! 

The freedom from unequal treatment on the basis of skin color, gender, religion, disability or other protected characteristics is collectively called civil rights. Most civil rights protections originate through federal legislation or federal case law (often from U.S. Supreme Court decisions). – See more at:

Also – 
Recently, in the news:
“Supreme Court strikes down government effort to relax statute of limitations for civil fraud cases”

‘the Supreme Court’s…clarifies that government civil penalty actions accrue upon completion of the alleged wrongdoing and not at time of discovery.  The rule applies to any government enforcement action subject to the statute of limitations provision contained in Section 2462, and thus any federal agency that handles civil fraud cases.’

Contact information: 

Seven West Productions

P. O. Box 400001

Las Vegas, NV 89139

PH: (877) 885-2944



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In a Perfect World!

Friday, November 25, 2014, Written by Tiwanda ‘Ne Ne’ Lovelace
Bio Email Website | Twitter | Youtube | Online Store 



Living in
America without Rights 2014

By Tiwanda ‘Ne Ne’

In a Perfect World

 Excerpt from Chapter 5:
I prefer to avoid the fanatical approach when describing the 
corruption…because that is the response that they require to 
find fault or to minimize the situation. In my previous title 
Music, Murder and Mayhem-A True Story, I addressed the 
importance for them to discredit and label any individual who 
is aware or can prove their deceptions and trickery.
Remember not to give them a reason to discredit you. Of 
course, due to the imperfect nature of us as human beings 
we will not be flawless. There will be repeated instances 
where events will be taken out of context, exaggerated and 
misrepresented for their own purposes.
I find myself comparing this fiasco to a scene taken from the 
well-known production of the Wizard of Oz when Dorothy 
pulled the curtain from the wizard. The difference is that 
instead of a timid little man hiding behind a façade of 
fireworks and performances, there are many with their 
weapons pointed and the power to inflict great harm, both, 
physically and mentally.
I must re-iterate that it is impossible for all to be corrupt or 
corruptible…but the Respondeat Superior rule allocates
an employer is responsible for the actions of any employees 
performed within the course of their employment.
This concept is based on what is called ‘vicarious liability,’ 
which dictates the superior is responsible for the acts
of their 
subordinates, or, in a broader sense, the responsibility of any third
party that had the “right, ability or duty to control” the activities
of a violator.
The Latin phrase for Respondeat Superior is “let the master 
Like many, I would really like to hear the
justifications for their 
actions and/or in-actions.
As previously stated, the term Democracy
derives from the
Greek phrase, ‘rule of the people.’
A Plutocracy, however, represents being
governed by a 
group consisting of the wealthy; wherein, the people are 
the rule and influence of groups by virtue of their 
The worse of all types of governments would
be those 
subjected to a kleptocracy; also known as, ‘rule by thieves.’
This is having a form of government who
exploits its own 
national resources and conspires to steal. A natural 
doesn’t necessarily have to be land, oil or 
something material but it can be
the hard work and ideas of 
its own citizens for the sole purpose of profiting.
In a perfect world I imagine five to ten
thousand officially 
designated representatives of the people to perform the
of detaining and arresting ALL those found in connection with direct
blatant violations against the people.
In unison and in a well-orchestrated event, I
imagine each 
being approached directly and being subjected to the words, 
‘Sir(s) or Mam we need you to come with us…under the 
Patriot Act and because of
a preponderance of evidence.’ 
‘You have been found guilty of Treasonous
behavior and for 
violating the Constitution of the New United States; where 
corruption will not be tolerated!
‘To those who have served this great country 
but failed to uphold the law to the fullest, we appreciate your service but we
respectfully request your resignation and/or your 
surrender to the greater good
of the people!’
Is it wrong for me to want to see them turn
against each other 
to save their own skins?
These are the same individuals that did not
hesitate to 
deprive others of their rights for mere profits.
In a perfect world, there should be strict
penalties for 
offenses involving the courts and even more penalties for 
who are in a position but choose not to act.
I imagine a group of young people being
educated and 
trained to influence change.
I imagine seeing the people’s faith in the
legal system 
I urge all to never forget to keep pressing
ahead because 
there is always an opposite and someone out there who is 
of addressing your legal issues. It takes persistence, 
endurance and the grace
of a kinder, higher power.
In the next chapters we will address the many
forms of 
Justice. For more click here!
‘An In-depth Review of the American Legal System from the Other Side of the Tracks’
The court system has been placed under the microscope from the view of the everyday citizen to reveal how it really works for the less fortunate. Therefore, by limiting assistance and preventing Due Process they enslave individuals by using their money, power and positions to deny rights that should be guaranteed by the Constitution of the United States of America.
This title also discusses how some high profile case where some have been made invisible when the legal system falls short of providing justice. Therefore, by limiting assistance and preventing Due Process they enslave individuals by using their money, power and positions to deny rights that should be guaranteed by the Constitution of the United States of America.
Imagine passerby’s telling you to commit suicide.
Imagine people exacting revenge and enslaving 
you due to your race.
Imagine being told that you have no value 
because you are a woman.
Imagine wanting freedom from a modern day slavery; 
yet, being denied!
Imagine being oppressed simply because 
you wanted to exercise your Rights!
Imagine being Invisible Living in America without Rights in 2014!
Copyright © 2013 Created and Written by Tiwanda ‘Ne Ne’ Lovelace
Publisher: Seven West Productions P.O. Box 400001, Las Vegas, NV 89140
All rights reserved. No part of this blog or books may be reproduced in any form or by electronic or mechanical means, including information storage or retrieval system, without permission in writing from the publisher, except by a reviewer who may quote brief passages.