Archives

YOU’VE BEEN WARNED

YOU’VE BEEN WARNED!

Created & Written By Tiwanda ‘Ne Ne’ Lovelace 

E.O.A.A. Weekly News Article: Friday, May 18, 2015


Many aspiring artist  are still sending in their demos and running to give their musical works away  hoping to make their dreams come true.
Although this may not happen to all who enter but let me be clear…this is what happens the majority of the time.
Basically, if you go near anyone associated with or in the music business…you should know that (without discussing anything with you and without any agreements) these men can tell the other reps that they own you and that they are supposed to get all of your royalties.
All of the fighting and violence that will and does occur behind the scenes is considered your fault; however, you are kept in the dark while others line up to do you harm. Incentives are offered for contributing to your hardships so that the truth ill die with you and the profiting can continue! 
If you are female and (especially, if you’re African American…no one will help you NO ONE).
 

Not the courts, not the system because all of those major entities control the millions of dollars derived from all works AND ‘THEY’ ensure that the violence touches many groups and cultures to prevent assistance and to induce public hatred toward you. 

There is no logical explanation as to how in 2015 men can simply take from women without consent or communication and this be acceptable…

Just like the cavemen, there does not have to be a relationship or communication.

You are blamed for all of the fighting and violence that will and does occur behind the scenes is considered your fault but you are kept in the dark. 

 
The men associated with or in the business (from the bottom to the top) know this so they enjoy robbing, raping and pillaging with impunity so therefore the last thing that they care about you or your well being in any way. The violence is then used to initiate some kind of process that is presented as some kind of protection (without your knowledge or consent). 
 
This alleged protection is only an another means for these entities to further victimize you and for them to profit from your ideas. It’s similar to some kind of Kleptocracy; which means, ‘under the rule of thieves!’
 
They treat the men like women too if they don’t fall in line or go along…

 

When the warring becomes excessive, you won’t be able to earn a living unless it it’s something illegal, disgusting and degrading (which further jeopardizes your well-being). 


You are blamed for all of the fighting and violence that will and does occur behind the scenes is considered your fault but you are kept in the dark.

 


The public works together out of hate or for revenge to justify the inhumanity because of  their losses even though you were the initial, intended victim. 
 
Most will run scared because of those in positions are corruptible or afraid because there are always monsters guarding the hundreds of millions of dollars involved.
 
Your college degree means nothing because they own the judicial system, the streets, your family, etc…Why attempt to blindly conduct business with this business without considering the tactics or methods used and reviewing actual proof? 

 

Most will let you learn on your own but you need to Learn what they don’t want you to know! 
 
Anything that you give to those producers or industry reps is just that…a gift because all of them are desperate and will do anything to get that money – YOUR MONEY! 
 
In the end you will be presented as simply a disgruntled artist when the truth is that nothing was ever discussed with you because the ‘system’ does not recognize the individual (especially, the female).

 

 

 

It doesn’t matter what group it is that you think that you belong to!

You are blamed for all of the fighting and violence that will and does occur behind the scenes is considered your fault but you will be kept in the dark.

 

Of course, in addition to being an unaligned African American female and conveniently the daughter of a man accused of killing a Detroit police officer, the system definitely refused to enforce any laws or stop any of the robbing, raping and pillaging on my behalf. 
 
Although many have protected themselves in every way (contracts, copyrights, legal representation, etc…), many
artist, writers and producers have been denied the opportunity to even pursue
their claims and are forced to fight everyone AND for their rights. 
 
I am not sharing my experience for sympathy but to let those aspiring artist, writers and producers that those rights that you are counting on having enforced are simply nonexistent when dealing with any multi-billion dollar industry known for not paying it’s people and a ‘system’ that allows it to operate with impunity.  
 
I want the rights guaranteed under the Constitution of the United State of America…that is to seek proper resolution without the mail-tampering, intimidation, violence and homelessness forced upon me. 

 

 

You can mess with them if you want to without studying the tactics and methods in any of the titles provided by SEVEN WEST PRODUCTIONS, LLC
YOU’VE BEEN WARNED!
 
That’s more help then I ever received from anyone…

You are blamed for all of the fighting and violence that will and does occur behind the scenes is considered your fault but you are kept in the dark while everything bad that can happen, does happen!

 WHATEVER HAPPENED TO HUMAN DECENCY?

These titles are also in an eBook form available at:  


 
Invisible: Living in America without Rights!
 
YOU’VE BEEN WARNED!
 
That’s more help then I ever received from anyone…
 
 
Share this:
 
 
Advertisements

With all of the Puppet Masters – WHO WOULD YOU TO TURN TO?

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

RE-POSTED MAY 01, 2015  Bio | Email Website | Twitter | YouTube | Online Store 

Help support my Booster Campaign to obtain legal representation @ http://www.booster.com/undercoloroflaw

WHO WOULD YOU TO TURN TO?

IN ADDITION TO OFFICIALS IGNORING BLATANT CRIMINAL ACTS,

I HAVE HAD TO FIGHT EVERYONE WHILE VIOLENCE CONTINUES 
I HAVE HAD TO LISTEN TO MY 40+ MUSICAL LYRICS AND MELODIES ON THE RADIO FOR DECADES WITHOUT RECEIVING ANY ROYALTIES! OFFICIALS ON ONE SIDE WHILE THESE ENTITIES ON THE OTHER…!
The only game being played in 
 

MUSIC BUSINESS: ‘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.
 
AND
 
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’.

DOES THIS SOUND LIKE A GAME TO YOU?

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!
NO MANAGEMENT AGREEMENTS OR CONTRACTS!
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? 

I may not have the money to advertise, promote and market like I need to but this is unacceptable! I don’t want to hear no words. There is no excuse for this mess to continue. I never plotted to hurt anyone and this should have been resolved decades ago. I am an unaligned female without connections but nobody should be able to deprive anyone of the rights and ability to receive or pursue proper resolution.

THIS ENTIRE PROCESS IS SHADY, UNETHICAL, EXTREMELY QUESTIONABLE AND ILLEGAL…

Nobody asked or explained  anything to me Before or After I began to be victimized;

privately or publicly! I never plotted to hurt anyone and this should have been resolved decades ago.

I, Tiwanda ‘Ne Ne’ Lovelace am an unaligned female without connections but nobody should be able to deprive anyone of the rights and ability to receive or pursue proper resolution REGARDLESS OF SEX, RACE OR FAMILY BACKGROUND.

WHO WOULD YOU BE ABLE TO TURN TO?

There are always tragic incidents that are seemingly close to times where I have felt pressure to ‘stop,’  ‘let go’ or received strong messages to just stop pursuing my plight for justice. It is if others are being hurt in an effort to persuade others to help harm me and my family. Of course bad things happen but there are an increasing amount of coincidences.
There is another instance where it was as if there may have been some interest in finally resolving this nightmare or people were doing the same things that have been done for decades; wherein, numbers are referenced but they are soon followed by violence or jokes and mocking.
In order for you to see it for what it actually is, you must consider the facts presented.
Considering all of the important and well connected individuals involved in assisting with these atrocities for financial gain, am I supposed to run to any one of these people listed for help. If they are in a position to assist, maybe they should have acted BEFORE the raping of women and children, pillaging, cover-ups, corruption, robbing and murders.

Background

My father, Robert Heard allegedly killed a Detroit Police Office, Stanley Rapaski and Cass Czerwinski. I can’t help but wonder if Czerwinski is related to Democratic Representative Joseph C. Czerwinski.
Although my in-laws were directly related to the chief of police of Detroit, I never put it together that maybe this was questionable being that my estranged father was serving a life sentence.
I was raised as one of Jehovah’s Witnesses (Kingdom Hall out of Brooklyn, NY) so I was already raised isolated and separate from others. I wrote to music track initially provide by Jake Salazar and Lee Marcus. Lee Marcus brother was a MI police officer. My in-laws relocated for a period in GA.
The police departments spanning from GA were acting under color of law when they willfully executed a false report to secure a warrant. This illegally obtained warrant has been used to take housing and was used as means to hinder employment and take jobs.
MI – Judge Bernard Friedman, ignored severity of obstruction of justice, murders, rapes, corruption. This judge literally blamed actual violent events as if it was just a side effect from a cystectomy and as if it was not even happening. The search warrant says different.
GA – Judge William Duffey, (judges switched after Request for summary judgement entered by plaintiff. Judge ignored clerk’s misconduct.
F.B.I. Local Offices contacted but ignored severity of obstruction of justice, murders, rapes, intimidation, civil rights violated, corruption that has been allowed to continue for decades.
D.O.J. contacted multiple times throughout the entire 2-3 decades of major violations but ignored.
Officials across state lines are supporting this modern day enslavement by willfully and deliberately ignoring multiple severe criminal acts and have committed acts themselves.
My mother raised us as Jehovah’s Witnesses (located out of Brooklyn, NY).
My father, Robert Heard was sentence to a Life sentence for allegedly killing a police officer.
My best friend’s father was a police officer by the name.
My then husband was related to then Chief of Police, Benny Napoleon.
I’m sure that these officials have presented all kinds of reasons to justify violations but never once has anyone even approached me or said anything and when I approached any of these agencies (including, the DOJ who represents the government) or any police agencies (FBI, etc.)…no one acknowledges valid claims.
Due to major officials (judges, police entities, etc…) and other parties involvement…civil rights violations, use of violence and repeated instances where obstruction of justice, the statute of limitations are not applicable are being ignored and implemented in an attempt to cover atrocities for decades.
I am not sure if you can help because my allegations are against major entities. I am going to the F.B.I. tomorrow but I thought that I would reach out once more for some kind of legal advice.
Due to major officials (judges, police entities, etc…) and other parties involvement…civil rights violations, use of violence and repeated instances where obstruction of justice, the statute of limitations are not applicable are being ignored and implemented in an attempt to cover atrocities for decades.
This case involves multiple major entities and some ‘acting under color of law.’
For decades and repeatedly, I have been placed in situations where it is implied that this heinous situation will be addressed but it never comes. Only continued mail tampering, email interruption, misrepresentation and blocks that are keeping me subjected, alienated and uninformed, these crimes and violations of my privacy continues.
I still have not heard from the human rights committee… not even a confirmation email.
I NEVER GAVE PERMISSION FOR THIS BECAUSE I WAS
NEVER ASKED! 
As
a teenager, I began a telephone relationship with Jay Sloane, a DJ at a local
radio station.
I
signed a recording deal with a Sanchez as a part of a female group (never
developed into anything).
As
a young adult (prior to marriage), I also had unpleasant, embarrassing sexual
contact with the guys who were with the female rapper, Roxanne/Roxanne or was
it The Real Roxanne out of NY.
Initially,
these were the only times where I had any contact with music industry personnel
prior to meeting with Jake Salazar and Lee Marcus.
I
wrote my first lyrics to tracks provided by them of which one was placed on
major television sitcom. Lee Marcus family was definitely associated with the
Detroit Police through his brother per him. Neither; Lee Marcus or Jake Salazar
offered any contract but just wanted lyrics written to music tracks.
Jake Salazar and Lee Marcus never offered contract and disappeared for some time.
This event was followed by the droves of local production teams coming under the
pretense of good will while working together to deceive – as mentioned in Music
Business: It’s a Dirty Game!
Out of the many groups that I worked with, the Larry Hatcher, Larry ‘Roc’ Campbell
issue developed being that I was not signed to either. Larry Hatcher was
introduced through my husband’s family. I would have to assume that he was
initially associated with them but why would he want me to leave Detroit and
move to California unless he was trying to switch teams for whatever reasons.
That was a desperate move to lift my legs up and do me that way but combined
with my family’s response… it worked because I was tore up and almost went.
Local entities began to speak negative about Larry Hatcher being no good and dangerous.
On January 31, 1995, I was home in my kitchen cooking dinner and there was a knock
at the door. The officer held up a search warrant in connection to a double
homicide.
There was a double homicide at 15721 Telegraph on January 21, 1995. Left at the Scene
was a white canvas bag containing one full metal jacketed 9mm round. This round
watched 4 shell casings found by the bodies of the deceased. Attached to the
canvas bag was a TWA baggage tag for flight 355 Nov.11, 1994 and a Computer
read out for passenger T. Lovelace.
Per search, warrant served on January 31, 1995 – Affiant contacted Trans World
Airlines and learned that a Tiwanda Lovelace and a Curtis Lovelace had departed
Kennedy Airport in New York on flight 355 and arrived At Metro Airport Detroit
on November 11, 1994. Apparently, some jackass took my luggage tag from my trip
to NY and left it at the crime scene.
While in New York in November 1994, my home was shot up with my children inside.
Notice of Betrayal Letter sent to Zomba/Jive regarding dated February 23, 1995 Letter I sent to Zomba regarding blatant betrayal from their staff after Kymberlee Thornton expressed sudden disapproval of works which was in
opposition to previous expressed satisfaction.
The Search Warrant advised that I had been under surveillance. I was released immediately.
I’ve had files removed and received threats since 03/95.
Shortly afterward, I kept hearing about a story of someone hurting people by burning their toes, so I don’t know if they are threatening me again or what. I was being blamed again for some actions of others. If I am kept in the dark, how am I supposed to know what is going on. Unfortunately, I have to wait till the public lashes out at me in secret and then try to determine if they are just painting a picture to intimidate. 
‘I heard the people on the radio talking about the toes and I lashed out in anger
at them threatening me or trying to instill me with fear. All I know is that I
hated listening to the radio – assholes.’ ‘They use their powers for bad.
August 1995 Journal entry:
‘Leap of faith, leap on these with that bullshit! So I guess this means that I am
still wounded pretty badly.’
While situations are presented to some of the public one way, while at every turn behind the scenes is the constant harassment, intimidations and threats. It is true that one must be able to overcome and handle duress in order to become successful but when your stress becomes supernatural and your hardships are deliberately unbearable.
Then they were still playing that game where they would pretend to be getting ready to
fix this mess and give me my rights to privacy along with the Dangling Carrot –
The Deal. Followed by releasing the public on me to mock and attack. In
addition to everything that was going on…
October 24,
1995 Envelope from Zomba:
The envelopes with the words ‘comics’ began…
Another example of how haters can misrepresent situations…
Amidst all the drama, on August 15, 1996 my oldest child was outside playing outside
in front of the house when one of my hate-filled neighbor’s children chased him
into the street.
Conveniently, he was struck by a vehicle and thrown into the air to land on the concrete.
What made this different from any accidental automobile collision was the
drivers’ response. Sharon Deasfernandez, the driver got out of her car with
this cold, angry expression on her face.
I’m not a racist but Detroit is predominantly African American city so I thought it was odd that she was of Hispanic decent being that I never really knew that I had crossed paths with anyone except Jake Salazar.
Was there an issue behind the scenes between Jake Salazar and Lee Marcus that was escalating?
Had my signing with Zomba interfered with others plans? Why pretend not to have my
lyrics and melodies after we discussed each work?
Was the double homicide supposed to be used to send me away while the others profited?
I had heard that their intentions were to avenge or retaliate against me for allegedly lying on Powell and others, (one of their big figures in their community in Detroit).
I assure you that I kept written records, time stamped journals and signed paperwork regarding what happened to me. Simply having more family, friends and supporters does not make your or your people’s actions justifiable.
[6] Jake Salazar was a co-founder of the Tempo Music Group. A coalition of independent record companies owned by veteran industry professionals and celebrities such as Anita Baker/Michael Powell, Sylvia Moy, Martha
Reeves, Isaiah Thomas, Thomas Hearns, John Salley, Lee Marcus, and Leonard Jones among
other prominent business colleagues.
Jake has been a consultant to over forty record labels and for many of the industries’ major artists and manages the careers of a chosen few. Jake has been a consultant to over forty record labels and for many of the industries’
major artists and manages the careers of a chosen few.
Hip-Hop/Rap artist Baby Blue, A.K.A. Big Nic on Big Money Records produced by Jake’s son, Jake
“Chacho” Salazar, III. All distributed through an arrangement with Universal. 
 
Prior administrative obligations were for Grammy Winner Little Joe/Polygram Records, Grammy Winner Cesar Rosas/Los Lobos/Warner Bros. Records, Platinum artist Tierra/MCA Records and DeLeon Music Publishing/Peer Publishing.

WHO WOULD YOU BE ABLE TO TURN TO?

Each of these individuals assisted directly or indirectly in the deprivation of rights,through or by either inaction or actions (up to and including acts listed; intimidation, violation of civil rights, corruption, encouraged public persecution, the raping of women and children. Because of their acts, inaction or misrepresentation of events or refusal to follow or uphold the law!

The SHORT LIST

  1. Richard Blackstone
  2. Dave Renzer
  3. Kymberlee Thornton
  4. Michigan Attorney Grievance Commission
  5. Whichever officials that keep interfering with mail & email delivery
  6. Michael Powell and his associates who assisted
  7. Jake Salazar
  8. Lee Marcus
  9. Art & Rhythm’s – Larry Roc Campbell, Zomba’s AnR
  10. Paul D. Allen 
  11. Larry Hatcher
  12. David McPhearson
  13. Howard Hertz, Attorney
  14. Alexander Kuhne, Attorney
  15. Jerome Barney, Attorney
  16. Judge Bernard Friedman
  17. Judge William Duffey

Governmental, Local Agencies and Groups ALSO contacted

It is not important to me the ‘who’ however, it is very important to explain that I have made every effort to try to correct this injustice. Understanding the complexity of this world and its court system, I reached out to many for assistance by providing supporting documentation and requested intervention from the beginning.

See list below:

Lovelace vs. Zomba

List of Attorneys, Organizations, and Agencies

DHL airway                Recipient Info. / Delivery date and signature of agent Bill no.

772707017012            Karen Bragg/ Ticket Master /c/o Goldstein,

                                    3701 Wilshire, 7th Fl., Los Angeles CA 90010

                                    Delivered – 03/06/1996, at 11:37 am, signed by Decker

77277017001              Attorney General, Dept. of Law, Consumer Fraud

                                    120 Broadway, 3rd Fl., New York, NY 10271

                                    Delivered – 03/08/1996, at 10:55 am, signed by Williams

7930401651                Volunteer Lawyers of the Arts/ Robert Libcke,

                                    1212 Griswold, Detroit MI 48226

                                    Delivery – 03/11/1996, 11:23 am, signed by Matthews

77277017701              Freeman Hawkins / Roger Goode, 4000 Sun Trust Plaza,

                                    303 Peachtree St., Atlanta GA 30308

                                    Delivered – 03/13/1996, at 10:59 am, signed by Johnson

8142801144                The Honorable Judge Linda Warren-Hunter,

                                  565 N. McDonna St., Decatur, GA. 30032

                                  Delivery- 03/18/1996, at 12:57pm, signed by Vortice

8184537104                Attorney Grievance Commission / Philip Thomas / A. Kuhne

                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259

                                    Delivery-03/26/1996, at 10:57am, signed by Buchanan

8184537093                Attorney Grievance Commission / W. Neeley / J. Barney

                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259

                                    Delivered-03/26/1996, at 10:57am, signed by Buchanan

8184969726                Attorney Grievance Commission / W. Neeley / J. Barney

                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259

                                    Delivered-03/29/1996, at 10:22am, signed by Buchanan

 

Lovelace vs. Zomba

List of Attorneys, Organizations, and Agencies (cont.)

DHL airway                Recipient Info. / Delivery date and signature of agent Bill no.

8184969962                Business Volunteers of the Arts, Robert Libcke

                                    1212 Griswold, Detroit MI 48226

                                    Delivered – 03/29/1996, at 9:47am, signed by Matthews

8184969951                Better Business Bureau, 257 Park Ave., South New York NY 10010

                                 Delivered-04/02/1996, at 10:15am, signed by Ojeda

8184969741                Attorney Grievance Commission / Howard Hertz

                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226

                                    Delivered-04/04/1996, at 10:47am, signed by Buchanan

9271866590                Ken Burrows, 425 Park Ave., 26 Floor New York NY 10022

                                    Delivered-02/19/1996, at 8:56am, signed by E. Addy

9271866586                Don Wilson, 4929 Wilshire Blvd., #1010 Los Angeles, CA 90010

                                    Delivery-02/20/1996, at 9:26am, signed by S. Girad

                        5219002596 – Don Wilson returned package 03/11/1996

8865881905                Karen Bragg c/o Goldstein, 3701 Wilshire Blvd., 7th Fl.

                                 Los Angeles, CA 90010

                                 Delivered – 02/22/1996, at 10:09am, signed by K. Eubanks

8865881883                Zomba / Deborah Keegan, 137-139 West 25th St. New York NY 10001

                                    Delivered- 02/22/1996, at 11:08am, signed by W. Corian

8865881894                Attorney Grievance Commission, Suite 256, Marquette Bldg.,

                                 243 West Congress, Detroit MI 48226

                                 Delivery-02/26/1996, at 9:56, signed by D. Smith

8681158172                Federal Trade Commission, Division of Marketing, Rm. 238

                                    6th St & Pennsylvania Ave., NW. Washington D.C. 20580

                                    Delivery-03/04/1996, at 2:39pm, signed by I. Hudgins

                 9736039725 – Federal Trade Commission / Delores Johnson,

                                      Package returned 03/13/1996

9649642623                The Honorable Janet Reno, Department of Justice,

                                    Tenth & Constitution Ave., N.W., Rm. 4400 Washington D.C. 20530

                                    Delivered-03/13/1996, at 12:46pm, signed by B. Breitspr

9291390780                Prosecutors Office, 1441 St. Antoine Ste. 1200, Detroit MI 48228

                                    Delivery-03/26/1996, at 11:46am, signed by S. Johnson

814280                                                            Attorney Grievance Commission / J. Barney, Suite 256, Marquette 243 West Congress, Detroit MI 48226

                                    Delivered-04/09/1996, at 10:19am, signed by Buchanan

8142801166                Department of Justice, Anti-Trust Division, Jacob K. Javitts Federal Bldg.,

                                    26 Federal Plaza, Rm. 3630, New York NY 10278

                                    Delivered-04/09/1996, at 10:03am, signed by O’Donnell

8142801155                Better Business Bureau-New York / Mediation Division,

                                    257 Park Ave., S., New York NY 10010

                                    Delivered-04/09/1996, at 9:01am, signed by Ojeda

8184537082                Freeman, Hawkins / Roger Goode, 4000 Sun Trust Plaza

                                    303 Peachtree St., Atlanta GA. 30308

                                    Delivered-04/15/1996, at 10:36am, signed by Johnson

8184969796                Butzel Long / Michael Poterala,

                         150 West Jefferson, Suite 900, Detroit MI 48226

                         Delivered-04/23/1996, at 10:46am, signed by Burks

 

**This is one long list that consist of very prominent attorney’s, groups and organizations. **

I can understand why it is so important for this information to remain hidden. If this was to be released, it would reflect poorly on each entity. It is probably because these are the same entities that are supposed to uphold and protect the rights of the people; yet, they were unwilling to enforce the laws.

Possibly Jay Sloane has some involvement due to past association.

Las Vegas F.B.I., D.O.J., U.S. Postmaster, and more were contacted with supporting documents but ignored the blatant violations of rights.

Some of these individuals were associated with or represented other groups who attempted to use these atrocities  for their own purposes and/or monetary gain. These groups are known for supporting the degradation of women.

 

WHY IS IT THAT ALL OF THE MEN INVOLVED ARE ALLOWED TO PROFIT AND LIVE UNSCATHED AFTER THEIR CONTRIBUTIONS TO WHAT HAS LED TO CONTINUED VIOLATIONS?

Don’t hide behind your money, positions and friends! Be the men that you were when you made the decisions to place blame, steal, ignore, etc…

Why hide? Go ahead and let everyone see you help hold down individuals while you and the public screws them out of their dignity, rob them of their rights, etc… I would like to hear what reasons it is that you provide your family to explain your actions.

But I have to tell my loved ones to be careful and don’t send that child to public school because ‘my public’ harasses me with homeless jokes, rape jokes, etc…

AM I SUPPOSED TO RUN TO ANY ONE OF THESE INDIVIDUALS OR GROUPS AFTER THEY HAVE PROFITED FROM THESE ATROCITIES OR WORSE PLACING BLAME FOR THEIR LOSSES?

AM I SUPPOSED TO RUN TO ANY ONE OF THESE INDIVIDUALS OR GROUPS AFTER THEY HAVE PROFITED FROM THESE ATROCITIES OR WORSE PLACING BLAME FOR THEIR LOSSES?

YOUTUBE VIDEO

http://www.youtube.com/watch?v=fCMNDzDKFcc

Help support my Booster Campaign to obtain legal representation 

http://www.booster.com/undercoloroflaw

These publications provide step by step description with supporting documentation:

157d1-hdr2bbanner2bshop2b7westpub2b10002bx2b350

Zomba Group of Companies

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 Group.com
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.

History[edit]

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.

Expansion[edit]

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

Resources[edit]

  • Cohen, Jane; Bob Grossweiner (6 July 2007). “Industry Profile: Ralph Simon”. CelebrityAccess.com. 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)
 
Find the answers to the many questions regarding how the music industry and this ‘system’ continues to operate with impunity in E.O.A.A. Educating Our Aspiring Artist  Weekly Articles Sponsored by SWP, LLC…Subscribe!
 
 
 
Let’s Connect:
 
 
This title is also in an eBook form available at: http://shop7westpublishing.com/.
 
Learn, don’t get burned!

 

 

Copyright © 2013 Created and Written by
Tiwanda ‘Ne Ne’ Lovelace
Published in the United States by Seven West Productions,
P. O. BOX 400001 Las Vegas, Nevada 89140 (877) 885-2944
 

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.

Breaking News: The Business of Music: Operating with Impunity?

Posted: April 10, 2014 7:21 AM PST Updated: April 16, 2014 4:00 PM PST
Written by Tiwanda Lovelace of Seven West Productions – Bio | Email |Website | Online Book Store
LAS VEGAS, NV –
NO DOWNLOAD REQUIRED!
Click Below!
The Business of Music: Operating with Impunity?

http://www.mediafire.com/view/ek63v8ew58ag4ut/Antitrust+Brief+The+Business+of+Music+with+Supporting+Docs+Zomba-Dekalb+FINAL+Final++COVER+-+04-16-2014.pdf

View never seen before documents which demonstrate how the Business of Music Operates with Impunity for decades!

These multiple legal situations also involves: Officials, Major Music Labels, Michigan Courts, Dekalb County Police and Georgia Court’s – violation of Due Process, officials ‘acting under color of law’ to deprive rights and alleges judicial misconduct.
There were hundreds of millions of dollars in music royalties involved with the multiple allegations of copyright infringements, breach of contract, song placements prior to Zomba contract and deprivation of civil rights that all stemmed from conflict between major entities and opponents.

Lawsuits were filed in Both – Detroit, Michigan AND Dekalb County, Georgia.

The first lawsuit was filed in Michigan after two lawyers advised me that the Co-Publishing Agreement with Zomba was standard.

 

After failed attempts at having me sign management contracts with their Producers, I was provided with music tracks and encouraged to build my own team.

 

 

After submitting and discussing 40+ songs, it became clear that there was no intention of honoring that Agreement. I began to realize that Zomba had both – initiated and/or allowed the materials that I had submitted and discussed with their representatives to be used and ‘gutted’ by others.

 

 

Zomba is a music publishing company who works with ALL of the Major Music Labels.

I began to hear musical works on the radio that were derived from songs that I submitted.

 

After submitting these songs, someone associated with the business brought it to my attention that an artist by the name of Desire (real name Monique), 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.

 

Zomba is a music publishing company who works with ALL of the Major Music Labels.

 

I reached out to many for assistance by providing supporting documentation and I requested

intervention from the beginning. I have a long list that consist of very prominent attorney’s,

governmental groups and organizations that were contacted. Some showed interest but declined

assistance, while others pretended that the violent acts did not exist.

 

 

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 filed a lawsuit claiming Antitrust Violations, Breach of Contract and

Copyright Infringements. I also requested counsel be assigned due to multiple,

coincidental acts of violence surrounding my family.

 

Although the Amended Complaint was ‘set forth in short, plain statements’ as required by law. Clearly explained Each document listed as Exhibits and filed in accordance with Federal Civil Procedures, the courts ignored the Complaint and the supporting documents.

 

 

The Michigan courts dismissed my case as frivolous preventing me an opportunity to

have my case heard. Judge Bernard A. Friedman cited that my complaint was bizarre,

irrational and indeed delusional. Judge Friedman continues to state that the

complaint is fanciful and delusional.

 

 

I didn’t know that copyrights, phone records and certified mail receipts were

miscellaneous papers.

‘It is easier to ignore facts and allow corruption to continue by claiming that my
complaint was bizarre, irrational and indeed delusional but I didn’t imagine bullet
holes, family members assaulted, friend and house shot up, my songs ‘gutted’
and played on the radio…

Both lawsuits demonstrates questionable, unethical and

egregious behavior by some of the courts representatives. This is

no coincidence that two courts in different states would ignore

actual factual claims against the same person who initially filed

complaint against music industry reps.

 

 

Multiple criminal activities and misconduct are used to prevent

and hinder justice for decades…from the simple auto accidents to

the major lawsuits.

 

 

Court Records can be found by using Pacer.gov!

 

SEE FOR YOURSELF – PACER Printout and Key-Points:

 

Lovelace vs. Zomba
GEORGIA COURTS ALLOWED DEFENDANTS TO DENY SERVICE AND THEY PLACED BLAME ON PLAINTIFF WHEN COURTS CLERKS WAS CLEARLY ORDERED TO PROCESS.

THE COURTS OWN SYSTEM SHOWED SERVICE OF SUMMONS WAS INDEED PROCESSED BUT JUDGE IGNORED.

PLAINTIFF FILED REPEATED MOTIONS FOR CORRECTION AND NOTICE OF ERROR BUT COURTS IGNORED OBVIOUS CONCERNS WITH THE CLERKS OFFICE BEHAVIOR.
1. Plaintiff filed Lawsuit representing herself In Forma Pauperis.

2. Plaintiff’s Lawsuit survived a Frivolity Review.

3. The Court Ordered that the Clerks Office process the necessary paperwork; INCLUDING, USM-285 SUMMONSbecause plaintiff was unable to afford processing fees.

The Summons advised the Defendants-Dekalb County Police Dept. to answer the Complaint filed against them within 20 days.

4. Clerks Ignored and Excluded 1st DefendantsDekalb County Police Dept. from Docket even though they were listed 1st on the Original Complaint.

5. Pacer No. 9 – shows that the SUMMONS WAS ISSUED ON 03/16/2004 to the Defendants-Dekalb County Police Dept. BUT after (4) Four Months past the allotted (20) twenty days…they DENIED receiving the Summons processed by the Clerk’s Office.6. Per Courts Order and Summons, the Defendants-Dekalb County Police Dept. had (20) days to file an Answer with the Courts; yet, they did not.

 

7. Plaintiff filed Motion for Entry of Default and Motion for Summary Judgment because the Defendants did not Answer the Complaint.

 

8. Defendants-Dekalb County Police DENIED receiving the Summons and blamed Plaintiff. Defendants did not file their response to Motion until 07/09/2004, AFTER THE JUDGE WAS SWITCHED

 

Again, that was (4) Four months later after Judge was switched without cause.

Courts switched Judges on 07/12/2004 – two months after receiving Motion for Summary Judgment.
Clerks never submitted Amended Motion for Summary Judgment w/ Supporting Documentation
to Support Genuine Issue for Trial to then Judge Jack T Camp.
Instead the clerks mislabeled the Motion as Miscellaneous on the Court’sDocket.

Plaintiff filed Motion for Entry of Default and Motion for Summary Judgment

BUT Courts and Clerk’s Office Conspired, ignored and waited allowing Defendants- DEKALB COUNTY POLICE an additional (4) Four Months – 07/09/2004,

Courts switched Judges on 07/12/2004 (two months after receiving Motion for Summary Judgment) but Clerks never submitted Amended Motion for Summary Judgment to then Judge Jack T Camp.
Judge Jack T Camp was fair and impartial in recognizing that if certain criteria was met…Dekalb County Police can be a suable entity!
Pacer.gov Printout:Lovelace vs. Dekalb County Police
Pacer Court records No. 7 – Order instructs Clerk’s Office to list Dekalb county Police to complaint and to forward Plaintiff USM285 forms for completion. This was in response to Plaintiff’s Motion for Correction and Notice of Error regarding Clerk’s Office excluding defendants, Dekalb County Police Department from the Complaint

On 02-17-2004, Pacer Court records No. 8 – Plaintiff’s USM285 forms and Summons were completed and returned. Lovelace returned ALL completed forms as directed.

NOTE: Amended Motion (12) was not submitted to Judge. AND the Amended Motion for Entry of Default / Motion for Summary Judgment from 05/06/2004 to July even though Defendants had only 20 days to respond.

COURTS ALLOWED DEFENDANTS TO DENY SERVICE AND THEY PLACED BLAME ON PLAINTIFF WHEN COURTS CLERKS WAS CLEARLY ORDERED TO PROCESS.

THE COURTS OWN SYSTEM SHOWED SERVICE OF SUMMONS WAS INDEED PROCESSED BUT JUDGE IGNORED.

On 03-16-2004, Pacer Court records No. 9 – Summons was issued for Defendants Dekalb County Police. Clear as day, pacer showed that the Clerk’s Office processed Summons for Defendants.

Summons Issued – Date Stamped

9 – SUMMONS WAS ISSUED 03/16/2004
12 – Clerks should have listed as Amended Motion for Summary Judgment instead of Motion forMiscellaneousRelief- Clerks delayed submitting to Judge
(12)
– Amended Motion for Summary Judgment was entered into court system on
05/06/2004 but listed as Motion for Miscellaneous Relief
.
Courts switched Judges on 07/12/2004
(two months after receiving Motion for Summary Judgment) but Clerks never
submitted Amended Motion for Summary Judgment to then Judge Jack T Camp.
CLEARLY SAYS FILED 04/23/04 AND
MAILED
04/26/04…

Plaintiff provided courts with 3 copies (as confirmed by date-stamps and as confirmed received and mailed below!
SOME OF THE CLERKS PERFORMED THEIR DUTIES AND MAILED MOTIONS BUT DEFENDANTSDENIED RECEIVING EITHER THE SUMMONS OR MOTIONS.

(12) – Amended Motion for Summary Judgment was entered into court system on

05/06/2004 but listed as Motion for Miscellaneous Relief.

Amended Motion for Entry of Default w/ Docs Supporting Genuine Issue for Trial

Courts switched Judges on 07/12/2004 (two months after receiving Motion for Summary Judgment)

but Clerks never submitted Amended Motion for Summary Judgment to then Judge Jack T Camp.

U.S. DOJ Marshal USM-285 Initial Process Paperwork

NOTE ABOVE: This was a part of the initial paperwork that was used by Clerks Office to process Service upon the Defendants
Clerks Secondary U.S. DOJ Marshal’s USM-285 Process of Service Form
Clerks
decided to process another
Summons – (4) Four Months Later – 07/09/2004,
NOTE: Plaintiff’s signature not listedALSO…These forms are processed by U.S. DOJ. This Entity was previously contacted regarding Zomba case in Michigan. I find it hard to believe that anyone could sue the Police Dept and it not raise an eyebrow within this governmental agency. See below:Clerk ignored Request for Summary Motion for Judgment after allotted 20 days for response and after switching Judges. I was never addressed but the Clerks processed this without a Court Order. The initial Courts Order advising Clerks to process was back in
February not July. Clerks was supposed to Enter Default and Motion for Summary
Judgments after 20 days.

PACER.GOV
On 01-30-2004, Pacer Court records No. 7 – Order instructs Clerk’s Office to list Dekalb county Police to complaint and to forward Plaintiff USM285 forms for completion. This was in response to Plaintiff’s Motion for Correction and Notice of Error regarding Clerk’s Office excluding defendants, Dekalb County Police Department
from the Complaint.
On 02-17-2004, Pacer Court records No. 8 – Plaintiff’s USM285 forms and Summons were completed and
returned. Lovelace returned ALL completed forms as directed.
On 03-16-2004, Pacer Court records No. 9 – Summons was issued for Defendants Dekalb County Police.
Clear as day, pacer showed that the Clerk’s Office processed Summons for
Defendants.
Plaintiff filed Motion for Entry BUT Courts and Clerk’s Office conspired and waited allowing Defendants- DEKALB COUNTY POLICE an additional
(4) Four Months Later – 07/09/2004,

after switching judges and ignoring courts own system- Service of Summons was ignored.

Lovelace vs. Zomba Lawsuit

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.

Initial Request for D.O.J. Assistance -Zomba

DOJ Ignored Coincidental Violent Acts, Docs and
Exhibits

DOJ – Chose to take No Action
Clearly, this is NOT just an issue of Breach of Contract!
DOJ – Chose to take No Action

DOJ Antitrust Division Letter Returning Exhibits

See Below:
This letter is implying that I requested closure but
previous letter ignored everything; including multiple violent acts…

DOJ Advised Materials Were Lost

There should have been a record from previous
correspondents especially since U.S. Department of Justice – Marshal Division was used to serve Defendants years later.

A Monopoly Exist: Not the Game!

When reviewing and comparing the allegations of copyright infringements, civil rights violations, etc… listed in Lovelace vs. Zomba AND Lovelace vs. Dekalb County Police it is apparent that they work together in a combined effort to monopolize.
I say this because when attempting to seek resolution you are faced with the following:
1.Being denied representation because of either a ‘conflict of interest’ issue due to the industry being controlled.
2.The fact that no entertainment attorney wants to slug it out on your behalf for fear of preventing further or future business.
3.Most attorneys require a very large retainer that the artist usually doesn’t have. The lack of funds is usually because the initial attorney had advised this artist that the contract with low figures were standard in the business encouraging acceptance.
4.Under false pretense, promises and manipulation, the publishing or record take your materials/works.  The publishing or record company contract will then state that your contract says that we can choose not to pursue your claims.
5.You are faced with major opposition from multiple sources. I have had multiple major companies
violate the Federal Trade Commission Fair Trade Act and Competition Laws. They assisted with hindering my efforts in promoting and marketing my Titles by creating fake sellers, re-routed links to other products, listed titles in the wrong categories and listed incorrect prices. These other companies circumventing justice when I was promoting my books that were exposing the blatant tactics and methods subjected.
I no longer wonder why people would easily associate the word ‘slave’ with the music business and the prison system. The courts only seem to recognize the goals of the major corporations.
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 sent these lyrics to Zomba and discussed these works in detail.
Clearly, I have been denied my rights and this definitely confirms a Monopoly situation.
I was very emotional at this time and although I lacked the skill of a licensed attorney, my revised complaint complied completely with Fed. Rules of Civil Procedure but the courts responded as if they did not receive this revised copy.
I provided copies of copyrights. I provided proof of certified mailings and other documents to support that I required courts assistance. Although I requested assistance from the DOJ and the courts due to violence. These acts of violence were ignored and these supporting documents were referred to as miscellaneous papers.
On July 22, 1996 the courts dismissed my case as frivolous preventing me an opportunity to have my case heard. Judge Bernard A. Friedman cited that my complaint 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.
The definition of a Monopoly is complete control of the entire supply of goods or of a service in a certain area or market, a large company that has a monopoly, complete ownership or control of something. This sums everything up in a single sentence.
How else is this allowed to continue with impunity?
It was acceptable to those in positions when the decision was made to try to induce a suicidal response until I chose to fight back. Suddenly, I became the one responsible for the aftermath.
When I began to describe the entire event from my experience and background as being victimized, suddenly I am supposed to be a snitch but it is supposed to be okay for everyone to try to quietly murder me and I am not supposed to fight back?
It is impossible and let’s not forget that I was there at the initial onset, watching ALL assist in obtaining my materials for the grand finale which was to be – my demise. Some would like for you to believe that this is the work of one person but none of the possible scapegoats had the power to orchestrate all of these coordinated events.
Although I can only guess that some individual representing a specific group may have devised a scheme to use this situation for profit.
Even if this was the case, the only reason why this would be possible is if both parties involved didn’t recognize
me as a person because it is a predominantly male dominated industry.
There was no acknowledgment or contact with me at all other than abuse.
It is possible that others may have negatively been affected and they may have required representation but instead of addressing me so that I could clarify that there are compounded situations, assisting in clearing up the entire ‘cluster muck.’
I say this because after being violated, I had hospital employee’s whisper to each other within earshot, ‘that’s what he’s supposed to do…’ as they looked at me smiling and smirking. They had to be implying that they were representing another party.
There are too many coincidences where some horrible act is attributed to a single individual for this to be random. This is why I really want nothing to do with any one of those producers from my past.
If my material helps alleviate persecution for anyone by clarifying some information, that is fine but I have received a large amount of retaliation so just knowing that someone allowed my family and I to become subjected as a scapegoat is unacceptable.
Instead of communicating, these individuals decided to launch this campaign to possibly cover for the geniuses who actually may have used their positions to manipulate a payoff. I say this because this may be contributing to the immense pressure
for me to ‘let it go,’ or the reasons why it was so important for me to ‘just die’ or the pressure to force an acceptance of a minuscule offer.
I conducted business forthright and with good intentions. I completed split sheets on shared works and I required signed agreements for those who chose to work on projects with me.
In addition, I was able to secure four or five exclusive writers under my Production Company, Seven West. After providing Zomba with copies of my writer’s contracts, I never heard from these writers again.
I discussed and submitted over 40 forty plus musical lyrics and melodies. I didn’t give permission and I did not sign my works away. I signed one co-publishing agreement for fifty percent – ONLY.
Still, I was forced to listen to my musical lyrics and melodies on the radio for decades as they reached the top the charts but I received no royalties, only threats.
With the information provided here and in all three of my titles, there should not be any doubt as to this clearly exposing corruption, conspiracies and the monopolization of an industry.
What I find to be really deplorable is that in addition to having to fight those is power and positions, there are individuals who will combined their efforts to also apply social pressure to invoke a form of social exile. These people take pleasure in exacting revenge in the name of others that have pointed blame at you for messing up their deal and standing up for your work.
I write my books so that I can reach both those who are in need of this information and those who are in a position to address the blatant atrocities properly. I also write in order to reach any sensible human beings not taken in by the lies, greed and payoffs, etc… that allow this to continue in the hopes that they will help.
Somewhere there is a Jehovah’s Witness or some other group who will become subjected to the same tactics and methods.
I want them to be able to make an informed decision to protect themselves against the traps or at least recognize the need to tailor their contract and request a sufficient amount of advance to protect themselves after the games begin because most entertainment attorneys will not risk future business by educating you once you have been selected or branded as ‘the Mark.’
I plan to continue to write my books and blogs until it is clear that this has been a deliberate attempt to induce suicidal actions, to violate my civil and human rights, to subject me to continued persecution in order to cause my surrender or demise.
With the information provided here and in all three of my titles, there should not be any doubt as to this clearly exposing corruption, conspiracies and the monopolization of an industry.
Caught in crossfire between major entities; the system and those who have been negatively impacted – I am forced to live as a homeless outcast. In this case, I have lived in many cities, moving from town to town looking for a home and a support base but the people in positions have ensured that too many people have been negatively affected.
There have been women and children assaulted and violated; yet, NO ONE has made an effort to bring an end to this entire ordeal because each are fighting to justify their own actions. Again, these continued incidents are instigated in the hopes that this will ensure that no one will support your fight for justice.
Those in or associated with the music industry have engaged in, encouraged and have allowed violent acts to incur solely due to their pride, greed and hate.  While behind the scenes, the hurting of others continue so that they will hate you too…this is not a game!
I know too many who have been raised as one of Jehovah’s Witnesses and they are now labeled and receiving SSI-Social Security Benefits or suffering from some sort of depression related to these practices.
This is their answer after brutalizing human beings…split up their royalties between big-wigs, make promises to their minions, lock the victims up, label them, induce suicide and/or murder.
I disagree with raising children as victims and not preparing them for the world outside of the Kingdom Hall of Jehovah’s Witnesses.
There is no reason why the police departments should be able to use their positions to deliberately profit and cause harm to a relative of someone accused of killing a police officer. There are too many coincidences and events surrounding one individual for EVERYONE to ignore FACTS!

Proof of a Conspiracy

There are too many coincidences and events surrounding one individual for EVERYONE to ignore FACTS! There are too many coincidences where some horrible act is attributed to a single individual for this to be random. The following points clearly demonstrates a combined effort:
1.In order for BMG, MCA, PolyGram, EMI, the Sony Group or the WEA Group to have multiple blatant similarities to songs listed in copyright infringements this has to be a combined effort and these label reps working together. This was a combined effort to circumvent justice to monopolize.
2.Mail tampering amongst different carriers was definitely involved and proven with documentation. Two separate carriers admitted in writing referencing being unable to explain mail delivery delays. This was a combined effort to circumvent justice to monopolize.
3.   Not one of these individuals would be able to track and coordinate persecution and harassment.
This was a combined effort to circumvent justice to monopolize.
4.Not one of these individuals would be able to manipulate the violations of my Civil Rights AND
orchestrate the questionable behavior from both the States of Georgia and Michigan Court’s. This was a combined effort to circumvent justice to monopolize.
5.No single person is able to orchestrate the unprovoked modification of criminal background records.
Suddenly officials were ready to enforce their duties when choosing to violate the Due Process Clause but unavailable to honor the duties involved in upholding a citizens rights. This was a combined effort to circumvent justice.
There are a lot of artist that befall convenient legal issues prior to releasing projects –
(Example: Tupac never had a criminal record prior to his release).
6.The illegally obtained warrant was issued conveniently during the days when I was suffering through retaliation and my torturous days of being forced to listen to all my ‘gutted’ works on the radio, etc… This required combined effort to induce hopelessness and suicide.
7.The timing of the execution of this illegally obtained warrant was in sync with everything that was going on around my trials with seeking assistance from attorneys and all of the many groups. I had filed the copyrights listed below and they were processed just months prior to the illegally obtained warrant being issued.
8.   More importantly, for decades I have been contacting governmental agencies, groups, organizations
and attorneys off and on since the beginning. I was providing supporting documents which substantiate my claims and CLEARLY raise questions regarding these compounded coincidences but I am
refused.
9. The fact that these agency and groups that are neglecting to acknowledge blatant wrongs; they’re inaction whether direct or indirect, inadvertently supports this injustice. Promoting deprivation of
  rights when an obvious injustice is ignored.
10.When any other corporation is found to be in violation of someone’s rights or involved in any unethical behavior, they are held liable. How is it that an industry can deprive rights and deny compensation from their employees (artist/producers) without being held accountable for decades?

What’s Love Got to Do with It?

During this ordeal there have been multiple references to Love or an attempt to play some sort of ‘heartbreak hotel’ game. I know that it is not uncommon for music to remind you of a person; especially, if you wrote lyrics for or with that person. Miraculously, I was supposed to listen to some music and fall in love, allowing some man with whom I have no connection to or any communication with for decades… to take control of my situation?
If someone cared, they should have made it clear but after being violated, harassed and ostracized for decades…it is too late!
Every time that I think of either of them, I am reminded of how many people have used their names when inflicting harm, mocking and violating. True or not, it is clear that I now associate the violation of women and children with both major entities.
Playing a song to induce feelings and emotions without an individual having had a previous relationship and expecting results is foolish. That kind of thinking is not realistic and if you believe otherwise than you may want to seek professional help. This was not done out of love and 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, proof of submission, phone records proving works were discussed and blatant similarities to works released on major labels – 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!
With all that was mentioned, courts ignored actual events of violence, denied that stress can attribute to and cause physical ailments.
So, let me get this right…I imagined my house gettingshot up, double homicide, children assaulted and sister gettingrapedanddropped off at the Kingdom Hall of Jehovah’s Witnesses. The Michigan Judgecouldhaveassigned counsel or made another decision. Talk about getting assaulted, I feltviolated all over again.
Zomba is a music publishing company who works with ALL of the Major Music Labels.
There are no statutes of limitations on civil rights violations; especially, with all of the
tactics and methods used to circumvent justice. I intend to continue to seek counsel and findsomeone whowants to put an end to blatant violations of civil rights and make those who cando what they are supposed to do.
This is really a Dirty Game!
THESE ARE NO COINCIDENCES!
THEY DON’T WANT ME TO SELL MY BOOKS EXPOSING THESE ATROCITIES BUT THEY DON’T WANT TO ACKNOWLEDGE ME AS A HUMAN BEING.
Each instance listed above and in the Extra Clippings can easily be categorized as violating the Federal Fair Trade Act and Unfair Competition Laws.
In Order for the Music Business and the Court System to continue blatant wrongdoing for decades, It would appear that this ‘System’ profits and Encourages these violations to continue.
People want you to believe that Money, Payoffs, Popularity Contests and Racism Supersedes Having
Rights Guaranteed by The Constitution of the United States…But I AM NOT LETTING GO!
The definition of a Monopoly is complete control of the entire supply of goods or of a service in a certain area or market, a large company that has a monopoly, complete ownership or control of something. This sums everything up in a single sentence. How else is this allowed to continue with impunity?
Attorney’s knowingly conspire to have you  sign a standard contract for small amount when they know that you will need a large retainer when the deal goes sour.

Under false pretense, promises and manipulation, the publishing or record take your materials/works.

Music Publisher manipulates to obtain fresh ideas and woks with the intention of using works said works without honoring the Agreement. They flash a list of Major Labels that they will place your works with but then deny you royalties.
The Courts work against the Artist repeatedly by refusing to even acknowledge your complaints across State lines; which prevents relief that would allow you to secure an appropriate retainer.
The Artist/writer/small publishing and production companies are unable to operate or conduct business because the industry conspires against them.
In addition, there is coincidental acts of violence, isolation and oppression used to intimidate…preventing proper resolution.The publishing or record company contract will then state that your contract says that we can choose not to pursue your claims. You are faced with major opposition from multiple sources. I have had multiple major companies violate the Federal Trade Commission Fair Trade Act and Competition Laws. They assisted with hindering my efforts in promoting and marketing my Titles by creating fake sellers, re-routed links to other products, listed titles in the wrong categories and listed incorrect prices. These other companies circumventing justice when I was promoting my books that were exposing the
blatant tactics and methods subjected.

15 U.S. Code § 2 – Monopolizing trade a felony; penalty

Every person who shall monopolize, or attempt to monopolize, or combine or conspire with any other person or persons, to monopolize any part of the trade or commerce among the several States, or with foreign nations, shall be deemed guilty of a felony, and, on conviction thereof, shall be punished by fine not exceeding $100,000,000 if a corporation, or, if any other person, $1,000,000, or by imprisonment not exceeding 10 years, or by both said punishments, in the discretion of the court.

Written by Tiwanda LovelaceBio | Email | Website | Online Store

P.O. Box 400001, Las Vegas, NV 89140 (877) 885-2944

BREAKING NEWS: Two Decades of Corruption -Exposed!

Posted: Feb 21, 2014 7:21 AM PST Updated: Feb 21, 2014 7:00 AM PST
Written by Tiwanda Lovelace – Bio | Email | Website | 
Las Vegas, NV –
“For over two decades…Officials – while acting ‘under color of law,’ circumvented justice, hindered and enslaved daughter of man accused of murdering a Police Officer!’
Officials under collaboration with a billion dollar industry has used courts, judges,
power, positions and connections with Music Business to exact revenge and for
the purposes of making a profit from enslaved individuals.
Police acting ‘under color of law’ used illegally obtained warrant to negatively
modify background record. Police used expired warrant to take public housing, cause
loss of employment and to hinder any and all assistance with the use of threats
and intimidation.
                   
While being victimized, ostracized, isolated and placed under continued pressure to
end her own life, she was advised that profits, proceeds and royalties were
confiscated and given to the slain officer’s family. If it was not this
message, it was other repeated negative comments used to
instill some kind of sense ‘hopelessness.’
This local author has released titles which sheds light on corruption and plot for
revenge and abuse of power which has been allowed to continue for over two
decades!
These titles demonstrate how a corrupt system has deliberately used money, power and
positions to create a form of enslavement in order to use positions to
circumvent justice and to exact revenge for the death of a slain police
officer and/or others negatively impacted.
Each title written provides documentation to substantiate all claims and provides
detailed information.
 

Caught in crossfire between major entities; the system and those who have been negatively impacted – she has been forced to live as a homeless outcast.

She has lived in many cities, moving from town to town looking for a home and a support base but the people in positions have ensured that too many people have been negatively affected across various groups.

These continued incidents are instigated in the hopes that this will ensure that no
one will support your fight for justice.
Those in positions and/or associated with the music industry have engaged in, encouraged and have allowed violent acts to incur solely due to their pride, greed and hate.  While behind the scenes, the hurting of others continue so that they will hate you too…this is not a game!
These onlookers do not even care about ‘the why’ but they join in with more abuse;
similarly to those angry mobs mentioned in history books. 

There are those who really understand or at least they seemingly recognize my humanity in this
injustice but out of sheer self-preservation they steer clear.

It has been implied that if anyone helps me in any way on my quest to free myself
from this man-made oppression, that they would end up in a wheelchair or worse.
It must be true because it has been decades and I am still struggling by myself to obtain some kind of rights to privacy and justice.
Even with the threats of homelessness, imprisonment and being alone in this nightmare, I refuse to just ‘fade to black’ for people who don’t even see me as a human being.
Lovelace states, ‘I am not, nor have I ever been a strung out, drug using prostitute. I am not a hardened criminal. It seems like the only rights that people in power want me to have is the right to remain silent. Every step I take to move forward, I am delayed in some way.’
Even if she were, it would not justify denying me the same civil rights others are
privy to.
Our individual freedom should not be left up to a system that allows those with power and positions profit from the dehumanization of others.
Again, she never had a chance even from childhood. Lovelace adds that her journals
mentioned in previous works were partial entries and do not come close to all
that has transpired in their efforts to shame and harm.
If you haven’t had an opportunity to read my previous memoir, ‘Music Business: It’s a Dirty Game’ also called, ‘Curse of the Dragon Lady – The Perfect Victim, and Music,
Murder and Mayhem – A True Story!
 
 
I strongly encourage you to purchase a copy. Reading each will explain why it was necessary
to write this book and what events led up to this decision to bare my pain.
It is her intention to address all those who whisper for her to sue, fight back,
and even those who would suggest for me to, ‘just die’. 


After working very hard for many years, honing my skills, obtaining information, I am mentally prepared to find my way to freedom in an effort to correct this injustice.

In my earlier attempts to resolve ‘my situation’ with the music industry, I contacted numerous agencies, attorneys and organizations for assistance but I
was refused. 

Included in this list below are the tracking numbers for each letter sent so
they can’t deny receiving request.

While on my quest in seeking the way to my figurative ‘underground railroad,’ I was
able to establish that ‘my entire situation cannot solely be contributed to my
dealings with any one individual or any singular specific group but of a combine
collaboration of multiple parties. 

Each should be held accountable for their actions and inaction.

My ordeal is not completely due to any specific actions or due to my inactivity; however, this was definitely a part of a well-orchestrated plan that was set in motion long before I arrived or was awakened.
I have not been just twiddling my fingers, living in fantasy world over here. It has been one extremely long journey learning about life, love and the pursuit of happiness.
It was very hard accepting that the ones closest to you would be the ones used to do the most willful damage; especially, when you are too busy watching everyone else that you perceive to be the villains.
SUMMARY OF EVENTS:
Although I have compounded legal issues, I have tried to provide brief numbered details of some of what has occurred below.

I am continuing to seek legal assistance and because there are

compounded situations but to provide a summary:

1.     My father is incarcerated for allegedly killing a Detroit Police Officer, Stanley Rapaski and Cass Czerwinski. I can’t help but wonder if Czerwinski is related to Democratic Representative Joseph C. Czerwinski. 
First, anyone who kills a police officer – their family is definitely persecuted and is
unable to obtain assistance from the system; especially, if that person is a prominent member of society.  
Everyone knows that police stick together and as a matter of fact, the other accomplice
conveniently died while being apprehended in that case. Human nature…
2.     I wrote the lyrics and melody that were used for a television sitcom many years ago. These lyrics were given to now prominent music producers, Lee Marcus and Jake Salazar. Of course, I didn’t find out about the use of the song until years later.
3.     Since the individuals who placed the first songs didn’t offer contract or monetary compensation, I kept writing with other local producers until I was offered a 50/50 co-publishing agreement with Zomba after a disagreement with Larry Hatcher and Art & Rhythm’s Larry Campbell. 
4.     Zomba’s pub agreement made reference to taking co-ownership of all songs written by me; including material prior to signing. (Remember I was not aware that the previous songs were used yet).
5.     I spoke with two entertainment attorneys; the fact that previous attorney’s would encourage signing a contract for little dollars when they know that all entertainment lawyers would most likely require a large retainer in the end demonstrates that there is a
problem. 
6.     Zomba representatives then attempted to pressure me to sign management contracts with producers that were on their roster whom I had never met.
7.     While contracted with Zomba, I submitted over 40 song lyrics and melodies that were discussed in detail with their representatives and some listed directly in the contract.
8.     After submitting these songs, someone associated with the business brought it to my attention that an artist by the name of Desire (real name Monique), 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.
9.     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 to Paul D. Allen of M. Powell’s – Vanguard Studio, Larry Hatcher of Hatcher Hits, Larry Roc Campbell of Art & Rhythm and David R – Zomba, rep. I worked consistent with all parties listed for a period of
time. I have split sheet for “Baby Stay with me” and I heard this finished by
her.
10.   After notifying Zomba of this deal, I became subjected to a multitude of tragedies, threats and intimidation. 
11.  Almost every song lyric and melodies were used in part and in full. These songs were being played on the radio for years. I  will provide you with attachments to show copyrights.
12.  Zomba used publishing contract to steal lyrics and melodies, then denied possession of works (even though material was mentioned in publishing contract, the use of intimidation methods to coerce, and now everyone is asking for an extreme amount of money for a retainer.

I understand that litigation cost but this should not be allowed to be
used as a scapegoat to avoid being held accountable.

This is the ‘game’ that prevents resolution and allows these tyrants to continue their actions. 
13. I then attempted to file suit and although the amended complaint that complied with F.C.R. and was filed within courts guidelines. 
14.  The judge dismissed before reviewing factual evidence and ignored actual acts of violence and request for counsel to be assigned. Basically, I have documentation that clearly shows misconduct.
15.   During this ordeal, I maintained my copyrights and always required signed documentation with any co-writers. Within two months of completion of my Registration of Copyrights for all of the songs provided, suddenly the Dekalb County Probation submits a violation of probation report to the Courts and they issue a warrant although I was under the supervision of Michigan Probation and reporting as directed.
16. The timing of the execution of this warrant was in sync with everything that was
going on around my trials with seeking assistance from attorneys and all of the
many groups. 
I had filed the copyrights listed below and they were processed just months prior to the
illegally obtained warrant being issued.
1.
PAU001720136 / January 7, 1993 “Collection I – Tiwanda.”

Lovelace, Tiwanda, 1967 – 18 SONG LYRICS AND
MELODIES, 1 RAP, 2 POEMS
2.            PAU001721382/ March 4, 1993 “Collection II – Tiwanda.”

Lovelace, Ne Ne – 6 SONG LYRICS AND MELODIES,
17.  Although per Inter-State Case Reports, Lovelace was reporting to Michigan Probation AS DIRECTED by Courts, there were no efforts were made to contact and/or provide Notice of Hearing.  Again, there was no notice of hearing, revocation hearing, or opportunity to be heard.
 
18. Dekalb County police then used this warrant to modify my 1st Offenders Act, changing status to conviction. Records reflect multiple arrests, repeated offenses and provide misleading transmittal when 4 of 5 items are in reference to the same (original) First Offenders Act offense. 

Dates and charges are inaccurate and/or inaccurately presented.

19.  This warrant was signed May 19, 1993 – expired July 31, 1997.
20.  In a letter used to take housing from the Lovelace family, a police agency stated that the warrant was valid in 2005 and that they were unable to execute due to budgetary constraints. 

However, when I lived in Georgia 2003/2004 there were no efforts to
arrest?

21.  I believe the warrant was serving its purpose, which was to inflict damage, hinder and harm. Prior to filing this case, I submitted a notice and a request for correction to all parties involved since it was preventing employment and shelter.
22. I have proof of misconduct which shows the courts switched Judges after plaintiff filed for Summary Defendants ignored service of Summons.
I believe that this system intended to hold me accountable for others actions and all under ‘color of law.’

I am requesting legal assistance and/or representation, resolution and
closure because these entities are still using their power and positions
to continue to oppress.

I have documented proof of civil rights violations, mail tampering, court
tampering, violent acts, etc…

I have had multiple major companies assist with hindering and circumvent justice…
Since this has snowballed, police were using illegally obtained warrant to modify records, take public housing and take employment. Georgia unjustly threw my case out but shortly after a public defender was able to quash warrant. 

I am stuck in this free for all, caught up between multiple major entities and
trying to obtain my freedom from this chaos.

Even now my record has not been updated or corrected properly because this case
was once again used to have me detained in handcuffs and refused entry into
Canada in 2013. Cleary, each entry is questionable.

I have other legal issues that have occurred of which I have been compiling;
such as, screen shot, documents, etc…that prove that I am being deliberately
deprived of my rights to liberty and life. I refuse to let them murder me
quietly behind the scenes.

I have provided some of the documentation to support my claims inside the
titles and I hope that you will be able to assist or refer this to someone who
can.

Thank you,

Seven West Productions
Tiwanda Lovelace, Founder
P.O. Box 400001
Las Vegas, NV 89140

(877) 885-2944 
(702) 900-4087
tiwanda@sevenwestproductions.com 
sevenwestproductions@gmail.com 

Official Website:

http://7westpublishing.com/

Tiwanda ‘Ne Ne’ Lovelace, founder of Seven
West Productions has compiled a set of publications which demonstrate firsthand
what traps await them by providing detailed information regarding methods and
tactics used.

·
There are no
other books that will provide extensive knowledge regarding their process.
·
These publications are not easily accessible through mainstream publishers solely due
to the information provided within and due to conflicting with the goals of a
billion dollar industry.
 
I have developed a program that offers extreme discounts so that these publications can be distributed and used to generate funds for other organizations while also providing a more uncut direct approach to educating our young adults before they fall victim to the music industry.

Lovelace has created the following publications:

 


Music
Business: It’s a Dirty Game!


ISBN 978-0-989622530 Printed (Perfect Bound)
ISBN 978-0-989622592 eBook
ISBN 978-0578119465 eBook



An autobiography of an unknown artist that
that was subjected to continued acts of violence and oppression. This title is
presented through this artist/writer’s eyes while experiencing multiple
tragedies and events. Emotionally charged, this title clearly expresses the
pain and anger of being betrayed, sacrificed and scorned. 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. This title is compiled
using personal journals, public records, contracts, copyrights and other
documentation which demonstrates how it is allowed to continue.

Music Murder and Mayhem-A True Story!
ISBN 978-0-9896225-4-7 Printed

ISBN 978-0-98962254eBook



An un-cut non-fiction description of how the
music entertainment business murders its artist and writers quietly behind the
scenes. People always assume that artist just sign bad deals that allow
producers/managers to take everything but this is not always the case.



It is important that people understand the
‘game’ and how it ultimately affects others. The documentation provided along
with my personal experiences shared in this book should demonstrate the lengths
that those who have abused their positions to strip individuals of their life
publicly by using illegal tactics, mass deception and intimidation.


This book describes how those
with money, power, and position use mass manipulation to discredit, its use of
technology to spy, use of threats and intimidation to isolate.
Like animals circling its prey, victims
are surrounded, stalked, studied and set-up. Like lambs led to slaughter, you
won’t realize the severity of your situation until you are knee deep in a
‘storm’ of backstabbing friends, oppressing family members, snaking strangers.

Tags: bullying, court tampering, injustice,
mass manipulation, music business, persecution, politicians, prism



COMING SOON!



INVISIBLE:
Living without Rights in America – 2013! 


ISBN 978-0-9896225-5-4 eBook
ISBN 978-0-9896225-8-5 Printed



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. This book will demonstrate how some individuals are
deliberately oppressed by those that are in positions to manipulate the courts
to ensure injustice continues. 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.



The documentation provided along with my
personal experiences shared in this book should demonstrate the lengths that
those who have abused their positions to strip me of my life publicly by using
illegal tactics, mass deception and intimidation.



For
questions and more information, please contact us at:



http://7westpublishing.com

http://shop.7westpublishing.com

I refused to believe
this could be possible and so I began to reach out to some of the attorneys,
groups, organizations and agencies. See list below:

Lovelace
vs. Zomba

List
of Attorneys, Organizations, and Agencies Contacted

DHL airway                Recipient Info. / Delivery date
and signature of agent Bill no.
772707017012            Karen Bragg/ Ticket Master /c/o
Goldstein,
                                    3701
Wilshire, 7th Fl., Los Angeles CA 90010
                                    Delivered –
03/06/1996, at 11:37 am, signed by Decker
77277017001              Attorney General, Dept. of Law,
Consumer Fraud
                                    120
Broadway, 3rd Fl., New York, NY 10271
                                    Delivered –
03/08/1996, at 10:55 am, signed by Williams
7930401651                Volunteer Lawyers of the Arts/
Robert Libcke,
                                    1212
Griswold, Detroit MI 48226
                                    Delivery –
03/11/1996, 11:23 am, signed by Matthews
77277017701              Freeman Hawkins / Roger Goode,
4000 Sun Trust Plaza,
                                    303
Peachtree St., Atlanta GA 30308
                                    Delivered –
03/13/1996, at 10:59 am, signed by Johnson
8142801144                The Honorable Judge Linda
Warren-Hunter,
565 N. McDonna St., Decatur, GA. 30032
Delivery- 03/18/1996, at 12:57pm, signed by
Vortice
8184537104                Attorney Grievance Commission /
Philip Thomas / A. Kuhne
                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI
48226-3259
                                    Delivery-03/26/1996,
at 10:57am, signed by Buchanan
8184537093                Attorney Grievance Commission /
W. Neeley / J. Barney
                                    Suite 256,
Marquette Bldg., 243 West Congress Detroit MI 48226-3259
                                    Delivered-03/26/1996,
at 10:57am, signed by Buchanan
8184969726                Attorney Grievance Commission /
W. Neeley / J. Barney
                                    Suite 256,
Marquette Bldg., 243 West Congress Detroit MI 48226-3259
                                    Delivered-03/29/1996,
at 10:22am, signed by Buchanan
8184969962                Business Volunteers of the Arts,
Robert Libcke
                                    1212
Griswold, Detroit MI 48226
                                    Delivered –
03/29/1996, at 9:47am, signed by Matthews
Lovelace vs. Zomba
List of Attorneys,
Organizations, and Agencies (cont.)
DHL airway                Recipient Info. / Delivery date
and signature of agent
Bill no.
8184969951                Better Business Bureau, 257 Park
Ave., South New York NY 10010
Delivered-04/02/1996, at 10:15am, signed by
Ojeda
8184969741                Attorney Grievance Commission /
Howard Hertz
                                    Suite 256,
Marquette Bldg., 243 West Congress Detroit MI 48226
                                    Delivered-04/04/1996,
at 10:47am, signed by Buchanan
9271866590                Ken Burrows, 425 Park Ave., 26
Floor New York NY 10022
                                    Delivered-02/19/1996,
at 8:56am, signed by E. Addy
9271866586                Don Wilson, 4929 Wilshire Blvd.,
#1010 Los Angeles, CA 90010
                                    Delivery-02/20/1996,
at 9:26am, signed by S. Girad
                        5219002596 – Don Wilson
returned package 03/11/1996
8865881905                Karen Bragg c/o Goldstein, 3701
Wilshire Blvd., 7th Fl.
Los Angeles, CA 90010
Delivered – 02/22/1996, at 10:09am, signed by
K. Eubanks
8865881883                Zomba / Deborah Keegan, 137-139
West 25th St. New York NY 10001
                                    Delivered-
02/22/1996, at 11:08am, signed by W. Corian
8865881894                Attorney Grievance Commission,
Suite 256, Marquette Bldg.,
243 West Congress, Detroit MI 48226
Delivery-02/26/1996, at 9:56, signed by D.
Smith
8681158172                Federal Trade Commission,
Division of Marketing,
Rm. 238
                                    6th
St & Pennsylvania Ave., NW. Washington D.C. 20580
                                    Delivery-03/04/1996,
at 2:39pm, signed by I. Hudgins
9736039725 – Federal Trade Commission /
Delores Johnson,
Package returned 03/13/1996
9649642623                The Honorable Janet Reno,
Department of Justice,
                                    Tenth &
Constitution Ave., N.W., Rm. 4400 Washington D.C. 20530
                                    Delivered-03/13/1996,
at 12:46pm, signed by B. Breitspr
9291390780                Prosecutors Office, 1441 St. Antoine
Ste. 1200, Detroit MI 48228
                                    Delivery-03/26/1996,
at 11:46am, signed by S. Johnson
8142801181                Attorney
Grievance Commission / J. Barney,
Suite 256, Marquette Bldg., 243 West
Congress, Detroit MI 48226
                                    Delivered-04/09/1996,
at 10:19am, signed by Buchanan
8142801166                Department of Justice,
Anti-Trust Division, Jacob K. Javitts
Federal Bldg.,
                                    26 Federal
Plaza, Rm. 3630, New York NY 10278
                                    Delivered-04/09/1996,
at 10:03am, signed by Odonnell
8142801155                Better Business Bureau-New York
/ Mediation Division,
                                    257 Park
Ave., S., New York NY 10010
                                    Delivered-04/09/1996,
at 9:01am, signed by Ojeda
8184537082                Freeman, Hawkins / Roger Goode,
4000 Sun Trust Plaza
                                    303
Peachtree St., Atlanta GA. 30308
                                    Delivered-04/15/1996,
at 10:36am, signed by Johnson
8184969796                Butzel Long / Michael Poterala,
150 West Jefferson, Suite
900, Detroit MI 48226
Delivered-04/23/1996, at
10:46am, signed by Burks
**This is one long list that consist of very
prominent attorney’s, groups and organizations**
Now, I can
understand why it is so important for this information to remain hidden. If
this was to be released, it would reflect poorly on each entity. It is probably
because these are the same entities that are supposed to uphold and protect the
rights of the people.
What kind of message
would this send to the people? It would appear that the life of one individual
in comparison to the prominent, upscale, influential people is most important.

Although songs listed in the Co-Publishing Agreement…
Below are sample documents used to establish patterns of abuse of power and civil right violations. 
 
Clearly, the Warrant has an expiration date of July 31, 1997 but this was used to take multiple jobs and even housing for almost (2) two decades.  Although Lovelace was reporting to Michigan Probation, no efforts were made to contact and/or provide notice.
 
That warrant says that ‘thorough, diligent search was made to find probationer and whereabouts unknown’ but this is a complete farce because Lovelace was reporting as directed.


 
 
Illegally obtained warrant was used to repeatedly take employment & housing in 
Las Vegas, Nevada
Police/Probation states Warrant issued for Failure to report and pay court ordered monies 
 
Although Lovelace was reporting to Michigan Probation AS DIRECTED by
Courts, there were no efforts were made to contact and/or provide notice. See
Below…
In 2005, why did the police agency state that the warrants were valid but unable to execute due to budgetary constraints but when I lived in Georgia 2003/2004
there were no efforts to arrest? 
 
From my experience I believe the warrant was serving its purpose,
to inflict damage, hinder and harm.
 
Below: Clearly, Lovelace was reporting to Michigan Probation AS DIRECTED by
Courts from December 11, 1992 until August 2, 1993, there were no efforts were made to contact and/or provide notice. (Warrant was issued May 19, 1993.)
 
 
Michigan Inter-State Case Report dated 08-2-1993
 
That warrant says that ‘thorough, diligent
search was made to find probationer and whereabouts unknown’ but this is a
complete farce.
 
 
 
 
Although Lovelace was reporting to Michigan Probation, no efforts were
made to contact and/or provide notice. I was still reporting (3) three months, unaware
that the warrant was issued on May 19, 1993. I was just told that I no longer
was to report to Michigan Probation office. I obtained this letter well after. 
 
In all that time, I never mention the fact that my father was convicted
of murdering a police officer. I didn’t want to think that people would hold
that against me or be this sinister. I didn’t want to even go there besides I
still had to have hope that the system to work fairly. 
 
Decades of this vicious game has led to an examination of both the legal system and the Music Business!
 
During the time period when the illegally obtained warrant was being issued, I was working with music industry people mentioned in…
 
 
Music Business: It’s a Dirty Game! –
 

After the initial placements of works that I had given
Lee; I can only assume that word got out about lyrics being free game. Of
course, at this time I had no knowledge of other works being placed. So I
believe that when Zomba referred to having songs that I had written ‘before and
after‘ covered in contract, it was very likely that they had knowledge of these
works.
 
I, personally, looked at it as if I were paying my
dues and was willing to charge that to the game at that time. Meanwhile, I was
unaware that a Georgia warrant was issued on May 19, 1993 for probation
violation after I started working with other local music producers.
 
I think that my decisions definitely interfered with
someone’s plans. I can wholeheartedly say that their intentions were bad from
start. Then I received the blame for not signing or letting them lock me down
when it was apparent that I had no value in their eyes. Well after initial
Georgia warrant and case was resolved, I really started to work with other in
the music industry.
 
http://7westpublishing.com/

Chapter
8 Pacer Court Case Tracker for Lovelace v. 

Dekalb Central Probation, et al AND Dekalb County Police Department

EVERYTHING was processed and the Defendants – Dekalb County
Police did not respond in the time allotted by procedure as directed by courts.
Suddenly and without cause the case was reassigned to a
different Judge after Plaintiff (Lovelace) filed for Motion to Request Entry of
Default – Months later.
Per Pacer (court records): January 30, 2003 – Judge ordered
the Clerk’s Office to do their job…
On 01-30-2004, Pacer Court records No. 7 – Order instructs
Clerk’s Office to list Dekalb county Police to complaint and to forward
Plaintiff USM285 forms for completion. This was in response to Plaintiff’s
Motion for Correction and Notice of Error regarding Clerk’s Office excluding
defendants, Dekalb County Police Department from the Complaint.
On 02-17-2004, Pacer Court records No. 8 – Plaintiff’s USM285
forms and Summons were completed and returned. Lovelace returned ALL completed
forms as directed.
On 03-16-2004, Pacer Court records No. 9 – Summons was
issued for Defendants Dekalb County Police. Clear as day, pacer showed that the
Clerk’s Office processed Summons for Defendants.
On 03-18-2004, Pacer Court records No. 10 – Request for
Waiver of Summons. Request for Waiver of Service due by 04-16-2004
Clearly, they were served.
On 04-23-2004, In accordance with Civil Procedure and due to
no Answer by Defendants (Dekalb County Police dept.); Plaintiff (Lovelace) filed
Motion for Default and Summary Judgment.
Suddenly, without cause or explanation – I received notice
that the Judge was changed from Judge Jack T Camp to Judge William S Duffey.
Clearly, they were served but they were allowed to state
that I never served them, defendants blamed one of their staff members and
actually plead that ‘it would be unfair.’
Extreme, Unnecessary Opposition :

Extra Clippings and Inserts

“Along the way I was met with extreme
opposition and I have faced many obstacles. I wanted to share some of them with
those who would like to know the truth behind the lies and tactics.”  – Tiwanda Lovelace
Google Tactics: 
WHAT DON’T THEY WANT YOU TO KNOW?

 

 

 

 

 

 

 

 

 

 

The other websites had the same upload but they
had it posted correctly…

WHY THE GAMES? HIDING WHAT?

Google Tactics

Google Search shows my book for $0.99 but of course this is not correct. Amazon has the correct price $19.99 but Google displayed this search results. Yes, I have asked them to remove listing repeatedly.
Finally, I was able to have Music Business: It’s a Dirty Game! removed from their Google Books and Google Play websites.

Google Images Search for:  Music Business: It’s a Dirty Game!

Now Available at http://7westpublishing.flyingcart.com/


Google Image’s Search under ‘Music Business: It’s a Dirty Game’ shows images taken from my book and then immediately list this idiot on the commode, counting money…and…a penny listed a little ways down…’I wonder why that is?’
Google Books also displayed various pages from my book
out of sequence and out of context for a preview. 
If you see $ 0.99 and then once you select page
the price shows $19.99 this could discourage interest. Book was not listed with
correct title.

FacebookTactics

I
purchased a couple Ads’ from Facebook and this is a copy of the Ads tracking
where they stopped all activity at $2.11.

My very first Ad went well; I reached over
44,000 hits per my page manager but someone interfered with 2nd Ad.
I wonder why…







I assure you this was never a game
but this was a revenge plot from the start! Read Chapters 1-6 of Music
Business: It’s a Dirty Game!
provided below!

Amazon and eBay, My Rivals?

Why would eBay and Amazon
have mysterious seller offer my listing for less than the authorized price? I
understand competition but why is there no information on seller?

Notice: Top Rated Plus & Seller: buy (2589127
with shooting star) is listed first, and then my listing is below…


This is not my (Seven West Productions) Ad and it
should be $19.99.
My (Seven West Productions) listing is second.
Note: My photo was used by Seller: buy (2589127 with shooting star).

These are not coincidences…but deliberate! Find out
why by reading Chapters 1-6 below!
 

Amazon/CreatespaceIssue

Meanwhile, I am marketing and promoting this book and
sending my customers to Amazon/Createspace but they offer it for less because
Amazon was selling same book @ $17.01, not the agreed 19.99 through Createspace.

 

No Sales? I know people who purchased on Amazon!

This is not my listing above-5new $16.00 –

My previous
Correct Seller information with eBay
100% Positive feedback
Amazon is clearly selling at different rate and $0.00
sales have been reported even though I know that friends/associates have
purchased.

This is my listing below showing the agreed Createspace
/Amazon price of $19.99…which coincidentally is listed on page #144, page 12 under Music.
 

Createspace/AmazonTitle Listings

MUSIC BUSINESS: IT’S A DIRTY GAME
Title
ID:
 4184590
ISBN-13: 978-0578119465   
ISBN
0578119463 SOFTCOVER, SEVEN WEST PRODUCTIONS  

ISBN
0578119463 BOOKNACKRH VIA  
AMAZON.COM US $22.04
ISBN
0578119463 AMAZON US
(ships w/i 24hrs) $23.98
ISBN
0578119463  TextbooksRus US EDITION $25.14
ISBN
0578119463 THE BOOK DEPOSITORY Ltd VIA 
AMAZONCO.UK  $27.04
ISBN
0578119463  
AMAZONCO.UK $30.72
ISBN
0578119463 THE BOOK DEPOSITORY UK VIA 
AMAZON.FR FRANCE $32.85
ISBN
0578119463 
AMAZON.FR FRANC $34.13
ISBN
0578119463 THE BOOK DEPOSITORY UK VIA 
AMAZON.DE GERMANY $37.76
ISBN
0578119463  
AMAZON.DE GERMANY $39.18
ISBN 0578119463  SPINEYS
VIA 
AMAZONCO.UK $44.60
I spend
hours, days and weeks promoting my book; sending my customers to eBay &
Amazon links for my $19.99 Music Business: It’s a Dirty Game and find that my
efforts are undermined.
I hope that
you have enjoyed reading the Chapters 1 – 6 that I have provided for preview.
I am
fighting for my life and I shouldn’t have had to compete with Amazon and/or
eBay with my own product when using their online service!
I have had three websites but each time I am faced with unexplained changes to my websites or purchase links being forwarded to other non-related sites.
Recently, I have discovered that some of my copies sent as attachments in emails were never received so if you have received a copy then it was through great lengths.
I have put everything into fighting this injustice and I could use some support. It has been a difficult journey but this form of slavery must stop because I am not going to accept this without a fight. There is no valid reason, justification
or excuse to deny rights…
This is really a Dirty Game!

FindingJustice – Difficult but Possible  

Due to that long list that consisted of very prominent music
labels, prominent music industry people, prominent  attorney’s, groups and organizations provided
in this book who were contacted for assistance,
I can understand why it is so important
for this information to remain hidden.
Even
decades later; once released, it would reflect poorly on each entity and those
who are supposed to uphold the law. It is probably because these are the same
entities that are supposed to uphold and protect the rights of the people; yet,
palms are greased and backs are turned.
Laws
and Rights mean nothing if they don’t apply to everyone. What kind of message
does this send to the people in 2013? It would appear that the life of one
individual in comparison to the prominent, upscale and influential people has
no value.  ANYONE can do anything to
anyone if they have more friends and wealth.
I
hope that this book reaches those who are unaware of the fact that even though
the world is changing; it doesn’t change for all. I hope that you will see
beyond my immediate anger and sadness reflected in my journals targeted toward
my oppressors. The documentation provided along with my personal experiences
shared in this book should demonstrate the lengths that those who have abused
their positions to strip me of my life publicly by using illegal tactics, mass
deception and intimidation. Even though there are incidents that actually
obtain media attention, there are numerous unjust events that do not receive
acknowledgment.
In my case, there seems to always be
something more pressing or someone more important. Let’s not allow others to
continue to divert our attention elsewhere when in most cases we can save
lives. If you don’t experience racism, then you would never know what it is
like or if it still exists for most.
I can’t help but recall a conversation
with a young lady who was of another nationality who casually stated that the
world is getting better with regards to racism. Of course, I had to acknowledge
that it seems like it but it still exists– they are just sneakier with it! It
still exists in the places that have the most impact on minorities – The Courts
and the workplaces. While this book demonstrated some of the tactics used in my
case with Zomba/BMG (now Universal Music Group. I have compiled some of my
personal experiences with the court system in other cases in my other book – Invisible: Living in America
Without Rights  – 2013
!
Although I have been treated horribly by
many, I still treat people with courtesy and decency. I believe that this is
where real change can start. Treat people like you want to be treated seems
corny but you never know if the person that you choose to mistreat has already
been through the ringer. That simple gesture can make your day or it could be
the difference between changing that persons view on life. I know that a few
kind words from strangers helped restore my faith in the possibility of
Justice. I am still and will continue to seek assistance in obtaining justice
from a world that does not recognize my humanity.

In addition to everything else and in spite of all my clear proof that everything is not what it seems, I have to fight complete strangers who truly believe that I am some lying, maniac, mastermind responsible for everything bad in their world.


Seven West Productions is currently accepting donations to assistwith product marketing and promotional cost to ensure we are

able to reach a wider audience so that others may also benefit from

the messages provided in our informational products. No donation is considered too
small.

 
Thank you for your Support!



 

Look for this
button on the following websites:

http://musicbizadirtygame.blogspot.com/

 

Giving You the Business!

                
                                        

Giving You the Business!

 
Shedding Light on the Darkest Parts of the Business of Music!
 
Seven West Productions is a publishing company that recognizes that almost everyone knows someone who is an aspiring artist, musician, producer or dancer. 


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 victimize; therefore, have less prodigal sons and daughters.

Since I have received an extreme amount of opposition, I need your help raising awareness and reaching others who are in a position to work through organizations, foundations, companies to fully equip our aspiring young adult artist.

 
Seven West Productions has compiled a set of publications which demonstrate firsthand what traps await them by providing detailed information regarding methods and tactics used. 

  • There are no other books that will provide extensive knowledge regarding their process.
 
  • These publications are not easily accessible through mainstream publishers solely due to the information provided within and due to conflicting with the goals of a billion dollar industry.
 
  • By participating in this program as a Member or Sponsor, you will have the opportunity to purchase these rare publications that shed light on the darkest parts of an industry that has claimed so many lives.
 
  • By participating in our PLATINUM 30/40/50 program, you will automatically receive up to (50%) fifty percent discount off already low price on publications that are exclusive to our Members/Sponsors. These extreme discounts are only available to our Members/Sponsors and includes discounts on sale items.
 
It would be an honor to work with your prestigious company. Given a chance, we can prove our value to your prestigious  organizations, foundations, companies by producing and delivering our easy to use program compiled of thought-driven publications geared to protecting our youth. 
 
Please take a moment to go through our attached proposal to find out the value our collaboration promises to bring to your business.


Either as Member or Sponsor, your assistance will to increase our ability to reach to a much wider audience who is in great need of these publications.



Looking forward to hear from you soon. 



You may view full presentation by contacting us directly using our contact information provided below. 



Thank you for your time!



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

                                                                                    

You may download a PDF of this Agreement
at:
http://7westpublishing.fetchapp.com/get/gazeku
 
 Please provide your email address, contact name and select the Program that you wish to utilize.
 

 

 
Sincerely,
 
Tiwanda
Lovelace, Founder


Seven West
Productions



P. O. Box 400001, 



Las Vegas, NV 89140



Phone: 702.900.4087
 
 
 
*BONUS – FREE 
KEEPING YOUR CHILDREN SAFE ONLINE
 
(with any purchase – Offer expires February 1, 2014)
 

Reserve Your Copy Today!

MUSIC, MURDER AND MAYHEM

Audio &Printed Copy Available – January 15, 2014

Get Your Copy Today!

eBook Orig. $9.99 

NOW $4.99*

If you have already researched books on the subject of the music business
then you have found that a lot of the books that are written denouncing the
industry are portrayed as fanatical, demonic and are downright comical. 
 
Personally, I am certain that there is a degree of evil involved in the
business and it is possible some individuals who would sell their souls for a
successful career but I didn’t look twice at those titles. 
 
It is almost as if those books are deliberately, readily accessible but the titles
that would truly provide insight are not as easy to find. 

Well, look no further…

MUSIC, MURDER AND MAYHEM

By Tiwanda ‘Ne Ne’ Lovelace
An un-cut non-fiction description of how the music entertainment business
murders its artist and writers quietly behind the scenes.
People always say that the Music Business is a dirty business but they have
no full idea of to what extent. They assume that these artist just sign bad
deals that allow producers and managers to take everything but this is not
always the case.
It is important that people understand the ‘game’ and how it ultimately
affects others. They cut, chop and shop your work. Meanwhile, chaos ensues
when these victimized human beings wreak havoc fighting for these stolen
works and their share of royalties.
Industry people know ‘the game’ and they know how to manipulate
situations so that when you refuse to dehumanize yourself, drop to your
knees and allow them to take everything… they label you as trouble. As with
any business, there is competition and the struggle for power and money.
This book describes how those with money, power, and position use mass
manipulation to discredit, its use of technology to spy, use of threats and
intimidation to isolate.  
 
This is about the struggle of one writer who was blessed with the
opportunity to survive and the will to refuse to settle for less. Realizing what
would be the point of a temporary relief from injustice and unwarranted
cruelty only to ultimately be subjected to the same inhumanity within a few
years. 
Like animals circling its prey, victims are surrounded, stalked, studied and
set-up. Like lambs led to slaughter, you won’t realize the severity of your
situation until you are knee deep in what I commonly refer to as a ‘shit-
storm’ of backstabbing friends, oppressing family members, snaking
strangers and money grubbing manipulators intent on keeping you
subjected and suppressed if they are unable to make a profit.
 
 
eBook Available – January 8, 2014
Printed Copy Available – January 15, 2014

Reserve your copy by submitting an email to  
by completing the contact form @ http://7westpublishing.com/

(20) Twenty Lucky Winner’s will receive a complimentary copy and will be

given an opportunity to provide a review!