Power in Numbers Exposed as Bullying

INTRODUCTION: Millions of aspiring artist, seek to become the next star but they have no idea of how to survive the business. Unlike other books written from a ‘safe’ perspective or from fear of losing future business, we provide the uncut truth with proof! SWP, LLC has compiled a set of books which shed light on the darkest side of big business and the ‘system’ that profits. It is through these titles that Lovelace has an opportunity to shed light on the tactics that are used to deprive rights, manipulate events which are used to facilitate public support. We have developed multiple intertwined, products and programs that expose unethical practices and that are both, beneficial and profitable. We also offer others the opportunity to utilize our invaluable products through our licensing rights options. This Blog is not just for the aspiring artists but it is also for those who are interested in learning how the world actually operates. See for yourself:
These books call attention to the events that lead to major entities being exposed, corruption, greed, lies, hypocrisy and even murder – past to present!


Written By Tiwanda ‘Ne Ne’ Lovelace, Managing Member of SWP, LLC/7 West Publishing 
October 21, 2016 –  Written By Tiwanda ‘Ne Ne’ Lovelace 

Power in Numbers Exposed as Bullying

Power in numbers is supposed to represent strength by individuals coming together as a united front usually in opposition or to attempt to right an injustice. In many cases, individuals are not recognized so the theory of ‘power in numbers’ can be useful in overcoming some obstacles.

However, in a world where so many people are different, disconnected and facing so many issues regarding their personal choices, we have seen ‘power in numbers’ take a turn for the worse. It would appear that ‘power in numbers’ has now escalated to simply bullying those who are different. 

What I
find most disturbing is that even when supporting documentation is provided,
the evidence itself is never addressed and the guilty are never forced to
respond. Instead, the accuser is vilified and their credibility is questioned
and attacked.
thirty years, rarely has there ever been anyone held accountable for blatant misconduct and abuse of power. I am going to defend myself so you can call it what you want to but I did not deserve (30) years of persecution for not succumbing to the whims of men.
Clearly, it has been brought to my attention that there have been individuals who have suffered atrocities stemming from decisions that were made in reference to music industry personnel. 
I made the decision not to work with specific individuals based on my experience with them and how I was treated. While at the same time, I had to get my name out there and let people see that I had talent. I soon found out that it wasn’t about talent. What I found was a lot of unhappy musicians who were trying for much longer to get there.
I had plans but what I didn’t realize is that my plans interfered with someone else’s plans.  If I felt the slightest bit of deceit, I was in the wind. I was moving too fast and I didn’t want to settle for someone that would shelf me or just steal my lyrics. I tend to do that when I sense that my best interests are not being looked after. Along the way I pissed off all the wrong people for not doing what others wanted.
After I made my decision, apparently it was decided that I was not going to succeed in the music business. Instead, I would be the next victim to experience being ‘black-balled.’ 
To be honest, I do not believe that there was ever any good intention with regards to me being allowed to have a career in music. There was an underlying grudge that always made me feel trapped so I just worked harder at pursuing my goals. This grudge was a combination of racism and something else because it was always some unnecessary evil. There was always a point to hurt me as if they were trying to hurt someone else through me.
Keep in mind that I had worked with a good number of local producers. I discovered much later that they were in cahoots from the start. During my time working with them, they each had access to my lyrics and melodies. I worked with a lot of production companies in Detroit but none of them offered a contract that involved any money. Even the talent shows that offered contracts never involved any money. 
They had some of my work but not more than one or two works, usually. After it was clear that I would not sign without some monetary incentive that is when the Co-Publishing agreement was presented. 
Take a moment and ask yourself, “which group does not recognize women and does not feel that women should handle money?” That would be the male chauvinist. Just to clarify, we have racism, sexism and black on black crime combined with major grudges but somehow…I am responsible for the outcome?
 It seemed odd that it would be from a major publisher out of New York since Detroit was so vested. Detroit producers refused to offer any monetary compensation, even after I produced good, usable lyrics and melodies to music tracks across different genres. They used those lyrics and still did not offer any compensation. 
Being ‘black-balled’ was not enough, it was decided that I would have to be taught a lesson. 

This lesson involved using my works against me. There were even songs released that contributed to disruption and instigated by having my name attached. The entire process facilitates betrayal, initiates competition among its writers/producers and battles for royalties. I never received a dime for all of my ‘works’ but I was forced to listen to my ‘gutted’ works reach the top of the charts. 

When all of those songs were being used, I was hurt and angry. Of course, anyone would be distraught. I did not belong to any group and because of who I was, there was no assistance.
The violence and angry public did not really start to apply real pressure until after David McPherson showed up, introducing himself as ‘Ce Ce.’ He was the A & R rep. for Jive (Zomba was their Publisher). Prior to this appearance, I had received an industry magazine which presented images and bios of a ‘who’s, who’ in the music business. Of course, I knew who he was but I did not know why he was in Detroit or at the same nightclub with me. I never told a soul! Besides, I didn’t have anyone to tell and because of who I am, I did not have to.
Shortly after his visit, an angry public began to vent and imply that something horrible had happened and it was my fault. Oh, I am never allowed to know the specifics but I always feel the blows. With each incident, I am blamed, persecuted and every attempt is made to induce suicidal actions. No one would have signed or stayed with anyone that refused them any monetary compensation. I had no idea of what was going on behind the scenes. It could have been any of these same people who rush to judgment. 
Detroit and New York. These cities have connections with multiple labels but they are independently, still in competition with each other.  This brings more violence and the industry seemingly, launched a full campaign to put it all on me; instead of addressing the entire situation.

As I fought for my works, I realized that this was more than just copyright infringements. 

My standing up for my works in my attempt to gain my freedom, exposed the inner workings of the industry. 

Their attempt to demonstrate a show of power and in their efforts to teach me a lesson, escalated into chaos. Now all of these groups and entities is telling everyone that it’s my fault. These same racist, sexist, male chauvinist and those who listen to the lies are literally calling me a murderer and wishing for my death. All the while, I have been kept in the dark but somehow…I am being held responsible for the outcome?

Almost every song that I had written was passed along for some type of payback or vendetta. It reminded me of the story that I had heard about a famous writing team where one of their girlfriends was actually writing the lyrics but was never given credit or monies. I was told that it wasn’t unheard of to emotionally abuse, reject and cause severe duress to influence suicidal actions. I was told that she killed herself and that’s what I was being forced to do. Wouldn’t you be pissed? 

It became more than being ‘black-balled’ and copyright infringements. 

Every time that I would seek assistance, it was thwarted and hindered with more violence.

One by one, the public would inflict torment and punishment while naming names, implying and inferring victims of this fiasco as – Paul Allen, Larry Hatcher, Larry ‘Roc’ Campbell.
The turmoil which began between Detroit and New York became the entire U.S. and abroad.

Each incident being solely placed at my feet. Every where that I go, there is some kind of horrible experience. I incur the wrath of every racist or Caucasian that feels that the violence is my fault. I incur the wrath of every African-American because the violence that has incurred against these African-American males is attributed to me. I even experience wrath from the Hispanic community based on violent events also stemming from others decisions.

Every possible group that is in a position to assist has been negatively impacted. 

What really amazes me is the number of African-American females who help by judging me harshly. Every time that I turn around, they seem to be pushing the hardest for my death. It as if they don’t see that it could have easily been either one of them. Male chauvinist and racist could care less about women and that is what is counted on. You would not have worked with either of them while they treated you like you were nothing. I am not responsible for the violence and it is convenient that everything falls on the outsider in order to appease everyone.

In all of these events, I have never been address directly or given any opportunity to defend myself without further being vilified!


I may be far from perfect but I did nothing to deserve 30 years of being sacrificed, given to my enemies and subjected to public humiliation and dehumanization. I am not responsible for what happened to those men. I did not set these events in motion. The more that I was pressured, the more I fought to be free. In any event that anyone would consider showing decency, violence was used to deter. 
A person who was never even considered or included in any of the decisions or decision making that lead to horrific events, How does this one person get blamed? 

Convicted Serial killers get a trial before they get 30 years….Hell, I didn’t know that I was on trial! That’s what ‘power in numbers’ did for me…

Now I am being threatened with another year, for trying to defend myself.

I cannot go to a job interview without being mean-mugged and it being suggested that my experience does not matter. Why must I be forced to live a distressed life, deprived of basic needs as if I started a war? I did not have any power. All I did was refuse to associate myself with those who clearly did not have my best interest in mind. Now I am supposedly the worst thing on the planet. 

Street Justice is supposed to punish me for everything that has happened as if I started these events. I being publicly punished for events that have been happening for centuries. All the while, I have been trying to have the right to live with rights but somehow…I am being held responsible for the outcome?


The Results:

The truth and anything that absolves me gets blocked!


Author/Plaintiff has suffered continued opposition from many governmental agencies who has
‘under color of law’ taken housing and gainful employment. Plaintiff has been barred from obtaining legal representation due to parties involved. Without stable housing and living conditions, litigant had been physically unable to compile the necessary supporting documentation. (See COM-COMPLAINT OF MISCONDUCT pgs. 71).

To this day, Def. Dekalb County Police – GA, has refused to correct, update CGIC and forward
corrections to CJIS (Federal). Recently, records reflect inaccurate information, charges and recently displayed a photo of a black male as being Plaintiff (See COM-COMPLAINT OF MISCONDUCT Pg. 70). 
Although far from perfect, I have never been strung out on drugs. I have never been an
alcoholic. I am not mentally challenged. Even if I were, it does not merit a lifetime of targeted, deliberately induced deprivation of rights.
Regarding questions as to my character, when you research my background…the information
that will be shown is inaccurate, false charges and exaggerate offense so as to attempt to justify deprivation of rights. Continued, convenient questionable behavior and inaction should only further demonstrate corruption and misconduct on the part officials. Visit other Post/Pages at:
In the blink of an eye and without hesitation, I was deliberately deprived my opportunity for justice by the Courts Judges, Clerks AND the Def. (as demonstrated in COM-COMPLAINT OF MISCONDUCT Pgs. 8-77). 
The Courts disregard for minority female plaintiff has led to recent incident where Plaintiff was detained, handcuffed, paraded due to inaccuracies maintained on CGIC and CJIS (Criminal Background Reports). The behavior of the Courts/Clerks not only condoned the Def. actions prior to the Complaint but facilitated the continuation of violation of and deprivation of rights…which continues today. Review for yourself:
Plaintiff has been subject to years of unnatural opposition, persecution due to negative public opinion on lawsuits against state/governmental entities; thus, giving ‘Cart Blanche’ or a license for obstructing justice and deprivation of rights.
It is through these titles that Lovelace has an opportunity to shed light on the tactics that are used to deprive rights, manipulate events which are used to facilitate public support. These publications provide detailed proof of corruption and collusion.

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Titles description (short version):

MURDER AND MAYHEM – A TRUE STORY! – An un-cut non-fiction description of how the music entertainment business murders its artist and writers quietly behind the scenes. Presents scenarios and provides a general guide regarding methods and tactics used to steal and
destroy lives.
MUSIC BUSINESS: IT’S A DIRTY GAME! NONFICTION – Describes step by step how multiple entities manipulate society through mass deception for the purposes of greed and revenge. Although many have protected themselves in every way, many artist, writers and producers have been denied the opportunity to even pursue their claims and are forced to fight for their rights. Through the use of actual events, supporting documentation and public records, review for yourself.
INVISIBLE: LIVING IN AMERICA WITHOUT RIGHTS! and PART II – INVISIBLE: JUDICIAL MISCONDUCT EXPOSED! – This book demonstrates how some individuals are deliberately oppressed and denied rights by those that are in positions to manipulate the courts to ensure
injustice continues. This title discusses judicial misconduct and ‘obstruction of justice’ and deprivation of rights at the hands of the courts and its clerks. Part II – Includes actual physical evidence and proof of deliberate deprivation through courts and its clerks tampering, editing, withholding, modifying filings and disregarding its own court’s rules and procedures.

For more information, visit: https://requestforlegalhelp. COM Complaint of Misconduct/

Subject Tags: ·
Biography & Autobiography >
Entertainment & Performing Arts
Law > Antitrust·
Music > Business Aspects ·
True Crime > Organized Crime·
True Crime > White Collar Crime
SAMPLE CHAPTER 9 – Music Business: It’s a Dirty Game!

This was written before I knew what was in store for me. I was not that lazy person waiting for handouts that people wanted to believe that I was. I always wanted to work but at that time, one of the reasons used to deny me was that I thought that I was too good to work. The public ate it up.

I always wanted to work but at that time, one of the reasons used to deny me was that I thought that I was too good to work. The public ate it up.

The best way to describe my situation would be:

What would you do if a gang of ruthless thugs broke into your house, beat you up, stealing everything that you had, slapped your loved ones and kicked your dog?

Well, after regrouping and ensuring that your family is in one piece; the first thing you and any person would do is call the police to make a report so that the insurance company will pay your claim. Does this make you a snitch? No, I don’t so. A snitch is someone who does dirt with a group of people, and then to save their own ass drags everyone else in it.

[What is it called when the bullies run around spreading lies on their intended victims? 
They told their version of events for decades while I was clueless as to 
what was being spread about me trying to cut others out! 
They offered no contract in most cases or contracts with no compensation…
Through their mistreatment, they practically told me to ‘beat it’ 
but when you move on – you are the villain!]
I am not really up on street definitions but I am certain that normal, regular people file claims every day.

[These self-serving bullies used every connect possible to spread their lies of how terrible I was and about how they were trying to ‘help.’ The fact is they had decades to twist the truth and to vilify me in an effort to hold me responsible for violence that I never knew about. These men ran to spread that mess so that people would gang up and bully me into suicide but when I say what really happened…I’m the villain?]

These same thieves get caught up in their world and somehow become divided after getting caught. Bad things began swirling out of control. Violence spilled out on the streets until they reached your door.

Then to add insult to injury, you find out that this gang of thieves has enough clout behind them to sway a very large group of people to believe that what happened to them; is your fault. Just because you didn’t just sit there and take their abuse; suddenly, every bad thing that happens in the world is your fault.

Then comes the icing on the cake, (figuratively) you are kicked in the face repeatedly and then once you are seething mad that’s when someone has a camera placed in your face for the public to see you at your worst. In this age of technology, it is not unheard of to wire homes, cars, and even people. Hell, if they have g.p.s. and tracking systems in pets; why is it not possible to do this to people. Don’t some believe in keeping their friends closer and enemies closer?

Now you are on display, reeling like a crazed lunatic, angry and downright hostile. Every good thing that you have done in your past is erased. It feels like you are fighting everyone.

The public sees an angry unlikable person that must be guilty or seeking pity when this could never be so far from the truth. Besides they haven’t seen such an exciting well-orchestrated and entertaining performance. Since they are not affected they are not personally invested, they only wish to somehow obtain their fifteen minutes of fame by just being seen.Given half-truths, misinformation and flat out lies; the public takes turns assisting with this so-called payback.

Suddenly, everything that happened to them and more started to happen to you and yours. I was at home ‘blind to the prelude’ when slowly one by one people began to make their disapproval of my existence known. Only by the grace of god working through someone, are you saved physically.

Saved? I am not so sure that is the right word to use. Was this so called ‘saving’ true or was it an elaborate form of torture or part of some sadistic game.

That group of thieves and their backers consisted of multiple races, cultures, etc…

Let’s say that when something happens to anyone it is not uncommon for their loved ones to become blood thirsty. What do you think people do when they can’t get the real person responsible for their pain? They find justification to get the one that feel is weak. What do the thieves do when they get caught? They find a patsy or scapegoat. They want to pass blame. How many people do you know that accept responsibility for their actions?


I know that this example is not detailed but the message will definitely be clear as I continue to tell my story regarding my experience with the music industry, family and my world. I refer to this as the ‘The Game’ because that’s what it is to some of them. Playing with people’s lives (literally) has become a sport to some. Dog eat dog world, where only the strong survive. The part that goes unspoken is that the game is fixed and the rules are constantly changed to protect the guilty.

It is humanly impossible for someone who has been poked, prodded, harassed and abused to be nice, sweet and social. That is why I say it is fixed. After many years of people telling you that they were paid to be your friend, it is not easy to go out and be overly friendly. I am decent to people who don’t break their necks to hurt. I even ignore the picture that some try to paint of me being all kinds of awful and still I treat people kind. That is until (after warning each at the onset of trouble) that you don’t want to try to play that smash game with me. I tried to tell the last group of co-workers that tried to gang up on me, this won’t end well.

Each time, I try to hold back from hurting feelings but you have to remember that I am good at defense because I have decades of experience. I, literally, begged them not to come at me with the games but one of them actually told me to ‘just die’.

They were nice at first and they were very interested. I called that record company regarding my songs and they went to being rude and playing on the phone. It was games. Anyone who wrote songs that was provided to the production company only to hear your lyrics and melody on the radio or in the studio; you would be pissed. I may not know all that transpired but I do know that something happened to some people. It was clear by the behavior and mistreatment that was thrust upon me.

The fact that I was encouraged to act due to what I was hearing. Someone with more clout blamed me for speaking up regarding my materials. What I do know is that more than one record company responded. Suddenly, it was not just a few songs but all my songs were cut up and redone using similar and/or same hooks. It was like being sent a message that we can do what we want to you. You should have just let them do what they wanted to do with your songs and ideas.

It was a joint effort. Let’s just say the ‘powers that be’ gave their blessing on my torturous demise. Boy, did they show me a few tricks or two.

Almost every song that I had written was passed along for some type of payback or vendetta. For a songwriter to hear their melodies is like recognizing your child cries or your name being called repeated. It reminded me of the story that I had heard about a famous writing team. It was told that one of their girlfriends was actually writing the lyrics but was never given credit or monies. I was told that it wasn’t unheard of to emotionally abuse, reject and cause severe duress to influence suicidal actions. I was told that she killed herself. One can never imagine that pain of being used and discarded; then to top it off tortured and mocked.

If it weren’t for the viciousness of the people, it would be easy for me to believe that the stories told were all lies to distract or influence response that would cause a deadly reaction. I was thrown to the wolves and it was ‘okay’. It was nothing; I was nothing – a Ghost.

In addition, the music wasn’t the only thing used. I couldn’t watch a television program without the ridiculous similarities to my current household topics and concerns. I know I am super sensitive right now so maybe I am tripping (at least that’s what I told myself. There is no chance of this many similarities and topics over this period of time.

It shook me, I cannot lie. I was broken inside.


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Created and Written by Tiwanda ‘Ne Ne’ Lovelace All rights reserved. No part of
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Your Rights CAN Be Deprived!

Created & Written By Tiwanda ‘Ne Ne’ Lovelace 

E.O.A.A. Weekly News Article: December 14, 2015, Updated February 7, 2016

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Your Rights CAN Be deprived!

This post has been moved to ‘tab’ listed above as:

BREAKING NEWS: Officials acting ‘Under Color of Law!’ 

For supporting documentation for allegations, Visit:
In my situation, one of the first things that I did was to seek counsel. I sought legal counsel in Michigan, Las Vegas, NV and Atlanta, GA. I contacted a number of groups, agencies and organizations across the world for assistance but even with copyrights, 50/50 major music publishing contract, public records, search warrants, etc no one would help. Instead, I was blamed for atrocities and kept in the dark. 

While behind the scenes, the hurting of others continue so that they will hate you too…this is not a game!
It’s 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.


After being targeted for one or both reasons, I have had multiple musical works that I have created –
stolen, gutted, and used to inflict harm against me while the system profits. Take a moment to look up the words Keptocracy!
These same works generated hundreds of millions of dollars for others; yet, I received nothing but
threats. Instinctively knowing that there is a definite connection between the use of my works and my inability to receive any type of assistance in bringing the culprits to justice. This is difficult to accept especially after presenting supporting documents to substantiate my claims.
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. 

In addition, 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!
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 because whoever is behind this is in position to hide the truth.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. Who would you choose?

How would you react if you lived in a world where ANYONE could do ANYTHING to you for decades and no one would interfere or stop them because the ‘system’ is profiting from stealing your life? 

It’s not like no one knows about this blatant corruption but it is sad that people can stand by idly and do nothing when it is clear that this is so wrong. 


For supporting documentation for allegations, Visit:

Everything in these Articles and Books are based on fact and can be substantiated with documentation from public record. I only wish that I had someone take the time to share even a tiny bit of the information with me prior to my decision to pursue a career in the music industry.

I feel that these Articles and books differ because it doesn’t just give you words from one person’s viewpoint, it provides step by step documentation proving how the artist works are stolen and how they are able to continue stealing lives with this modern day form of enslavement.





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These book use a contract with major music publisher, copyrights, court records, personal experience and more to demonstrate tactics used to steal, oppress and destroy lives.

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, LLCSubscribe!


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BREAKING NEWS: Officials acting ‘Under Color of Law,’


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When you seek help, your efforts are blocked, hindered by mail tampering, use of technology to block emails, etc…




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
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!


These titles are also in an eBook form available at:  

Invisible: Living in America without Rights!
That’s more help then I ever received from anyone…
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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

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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.
Ralph Simon
Simon co-founded the independent Zomba Group of music 
companies (now a subsidiary of Sony Music Entertainment) 
with Clive Calder in the 1970s. In the mid-90s, he was 
Executive Vice President of Capitol Records and Blue Note 
Records in Hollywood and started EMI Music’s global New 
Media division.
On May 20, 1996, I filed a lawsuit against BMI, Zomba and Jive because of their lack of 
response to my request as to how BMG, MCA, EMI, WEA, Polygram and Jive have released 
songs which blatantly infringe upon my copyrights. I submitted these lyrics and melodies to Zomba. Although people are moved like musical chairs, it is easy to see how moving employees back and forth from BMG, MCA, EMI, WEA, Polygram and Jive may have gained access to  songs which blatantly infringe upon my copyrights. I sent these lyrics to Zomba; which they deny receiving. 
Conveniently their denials were received in envelopes marked ‘Comics’.


I assure you that this is no game. Here I am twenty plus years later…still fighting for scraps and being stripped of everything from housing to basic necessities for decades.

This is not a matter of not having Copyrights!!!
This is not a matter of not seeking or having Legal Representation!!!
This is not an issue of signing away percentages because it was only
a Single 50/50 Co-Publishing Agreement with Zomba, a Major Music Publishing!
Not only did this Major Music publisher Neglect to Protect their own 
Writer but Failed to Pursue Interest in Copyright Infringements
associated to hundreds of millions of dollars…
Why do you think that a company that has a (50) Fifty Percent Interest in Musical Works would actually refuse to pursue claims which were supported by factual documentation, split-sheets,
certified mail receipts and certified, sealed copyrights?
Why is it while you attempt to pursue your claims and allegations, you are met with Violence, Harassment, Accusations and Coincidental Hardships? 

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.


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.


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.


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.
a teenager, I began a telephone relationship with Jay Sloane, a DJ at a local
radio station.
signed a recording deal with a Sanchez as a part of a female group (never
developed into anything).
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.
these were the only times where I had any contact with music industry personnel
prior to meeting with Jake Salazar and Lee Marcus.
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
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.


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!


  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.



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…




Help support my Booster Campaign to obtain legal representation

These publications provide step by step description with supporting documentation:


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


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

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

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

Zomba in London[edit]

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

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

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

Jive: taking a chance with rap[edit]

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

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

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


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

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

[1] Other artists featured early on Silvertone include John Lee Hooker, J.J. Cale and The Men They Couldn’t Hang. This period also saw one of the few times that Zomba attempted cracking the classical music market. In 1992, Zomba purchased UK classical music group Conifer Classics with the aide of the group’s head Alison Wenham. Though the deal seemed to be solid, Zomba sold the company to BMG in 1995.[1] Classical music activities have remained minimal[clarification needed] within the company since then. Building on existing publishing deals, Zomba briefly co-owned the UK label Sanctuary Records. While the co-ownership only lasted between 1989 and 1991, the two companies continued dealing together in other avenues, including a publishing deal with Sanctuary artists Iron Maiden.[1] In 1998, Zomba purchased a 50% stake in the troubled label Volcano Entertainment (called Freeworld at the time). The label had been under financial pressure due to various reasons, including a lawsuit from flagship artist Tool. The purchase was shared with management firm Q-Prime, though shortly after they sold their half to Zomba, making Volcano a wholly owned subsidiary. The first action was to settle the lawsuit with Tool, who would go on to become another Zomba success throughout the 2000s, representing the broad stylistic reach of artists under the Zomba Group.In 1993, Zomba created Zomba! Music Services in order to facilitate publishing rights for those in the film and television industry.[8] The division would act as a channel through which clients could acquire products and services from any company within Zomba. Songs published by Zomba Music Publishers Ltd., or released on any of the Zomba labels, or specialty recordings owned by the division itself, could be sourced for inclusion on film soundtracks, television shows or commercials.[1][17] This move gave Zomba profits by providing an accessible method of accessing the company’s vast publishing catalogue.The year 1994 saw the first of many of Zomba’s successful forays into the Christian music scene with the purchase of the Brentwood Music Group.[1][18] Brentwood was an established company consisting of an extensive Christian distribution network, several labels, and one of the largest music publishing divisions in printed choral music in the U.S.[19] Expanding on the Brentwood purchase, Zomba purchased the Christian label group Reunion Records from BMG in October 1996.[1][20] In 1997, Zomba purchased yet another Christian music affiliated company, the Benson Music Group, from Music Entertainment Group.[21][22] Benson became Zomba’s third label to focus on Christian music following Brentwood Music and Reunion Records. An important asset of the Brentwood acquisition was the publishing arm, originally founded in 1902, that included 46,000 copyrights from artists such as Elvis Presley, Dolly Parton, Linda Ronstadt, and Willie Nelson.

In reaction to the surge in Christian-oriented labels gathered over so few years, Zomba created the Provident Music Group in June 1997.


The Nashville-based group was led by Jim Van Hook and was essentially a continuation of the Brentwood group and an amalgamation of the other Christian-oriented labels. The group consisted of the Benson, Brentwood and Reunion groups, as well as the Brentwood/Benson Publishing Group and newly formed Provident Music Distribution arms.[23] This new group allowed the three main sublabels to have unified resources and distribution while still retaining their unique personalities in the market.In 1996, Zomba acquired the Windsong Holdings which gave them control of many new companies including Windsong International, Pinnacle Entertainment and Music For Nations.[24] It also gave them control of the established music company Rough Trade (80% of Rough Trade Records Germany/Switzerland/Austria (GSA) and 100% of Rough Trade Benelux). Rough Trade was primarily known as a distributor, but it also ran many electronic labels based in Germany. In July 1999, Rough Trade GSA was renamedZomba Records GmbH, while the Benelux operation (which only had distribution at the time) was absorbed into Zomba Distribution. The Rough Trade name remained as an imprint of Zomba Records GmbH, but was largely abandoned by Zomba.With the successful integration of Rough Trade into its operations in the GSA region and Benelux and to expand on recent teen pop successes, Zomba created a London-based international label group, Zomba International Records Group.[25] Directed by Stuart Watson, the new organization allowed each new local territory to freely sign and develop acts on its own.[26] If those artists could create a strong regional profile, it would be possible to “export” them to Zomba International for broader exposure.[27][28] Simultaneously, it allowed Zomba artists increased international exposure. The expansion was largely unhampered, save for some legal issues with the Australian branch. Australian record company Festival Mushroom Group lost at least a dozen employees to Zomba in early 1999, and placed an injunction that stopped them from soliciting Mushroom employees, and accused former employee Scott Murphy of trying to bolster Zomba’s presence while still working for Mushroom.[29] However, the issue was resolved fairly amicably and ended with a distribution deal with BFM Distribution (a joint venture of Festival Mushroom Group and BMG).[30]

As the record industry began evolving due to the widespread use of the Internet, and the increasing ease with which artists can record at home, Zomba made moves that illustrated their desire to change with the times. In 2000, they joined the growing list of record companies that made some music available via digital download with online distribution company Amplified Entertainment.[31]

In 2002, Zomba joined majors EMI, Universal and BMG, with approving some of their Jive catalog for release on the new DataPlay media. Though the media was largely unsuccessful, the move illustrated Zomba’s competitiveness with the major labels in the growing digital world.[32] However, a negative outcome of the changing times was the closing of some of Zomba’s Battery Studios and Dreamline equipment rental businesses towards the end of 2001.[33]
Teen Pop explosion[edit]
Around 1993, Clive Calder began his uneasy relationship with Lou Pearlman. Pearlman had put together a new group, Backstreet Boys, which was languishing on Mercurywithout any hits.
He presented the group to Calder along with David McPherson. Though initially uninterested due to the dominance of grunge and alternative rock, Calder thought that the group could help expand his operations overseas.[7] Zomba bought out the boys contract for $35,000 and moved the group over to Zomba imprint Jive

Calder immediately sent the group to Sweden and matched them with a group of producers recently found by Zomba scouts: Dag Volle and Martin Sandberg. In mid-1995, the band recorded their three songs including their first single at Cheiron Studios in Stockholm. Next Calder matched them with an old friend, Stuart Watson, who ran SWAT Enterprises, a company specializing in promotion in Asia. The group went to Asia began touring relentlessly and released their first album which sold one million copies in three weeks. In 1997, when Calder thought the grunge phenomenon had sufficiently passed, he took the group back over to the United States where their North American debut ended up selling upwards of 14 million copies, creating the first in a run of many hits that Zomba and the Backstreet Boys would enjoy together.[7]While Pearlman and Watson were breaking the Backstreet Boys overseas, Jive A&R man Steve Lunt was busy in the US seeking a female star, and was greeted with fifteen-year old Britney Spears. Initially horrified by Spears karaoke demo of a Toni Braxton song sung in the wrong register, Lunt was intrigued by a brief moment at the end where he heard the “kind of soul she had.”[7] As was the virtually the standard at Zomba, Lunt took Spears to in-house songwriter and producer Eric Foster White in the company’s publishing division, and the two recorded “You Got It All.” Like the Backstreet Boys, Spears was hooked up with Cheiron producer Max Martin. Within thirty days of letting a music director atStar 100.7 in San Diego hear “…Baby One More Time,” the song was number one on the charts.In 1999 Zomba was involved in a “boy band controversy” when trying to sign another group that Pearlman had put together himself, *NSYNC.[34] *NSYNC had recently left RCA due to allegations that Pearlman had taken approximately 50% of their profits and not the one-sixth that he had agreed to.[35] Seeing the group as a “free-agent,” Jive quickly signed them and prepared to release their next album. On 12 October, Pearlman’s company Trans Continental, in conjunction with RCA owner BMG Entertainment and BMG Ariola Munich sued Jive Records, Clive Calder, and the members of *NSYNC for $150 million citing, among other things, breach of contract.[36] Pearlman sought an injunction against the release of the band’s new album and that the recordings be given to him, but it was denied in court.[35] As a response to the suit, and in reference to treatment by Trans Continental, *NSYNC released a statement citing the company’s poor conduct as “the most glaring, overt, and callous example of artist exploitation that the music industry has seen in a long time.”[37] The lawsuit was settled on 23 December with undisclosed terms, but left Jive free to release future *NSYNC albums.[38][39]

The lawsuit, which Rolling Stone called “the music industry’s nastiest legal skirmishes in years,” was problematic for Zomba for two main reasons.[39] First, having heard that ‘N Sync was signed to Jive, the Backstreet Boys did not want to be a part of the label anymore. Second, the lawsuit temporarily strained Zomba’s relationship with BMG, whose distribution deal with Zomba was coming to a close. Jive initially announced that they would not renew their deal with BMG, but reconsidered following the lawsuit with BMG and Trans Continental. The distribution deal may have been a determining factor in the outcome of the lawsuit, since distributed Zomba product accounted for 5.5% of BMG’s US market share, and company CEO Strauss Zelnick was under pressure not to lose that.[38] They also signed a new deal with the Backstreet Boys that gave the band a 20% royalty rate.[40]

From BMG to Sony, and recent activities[edit]

BMG had owned 25% of Zomba’s publishing business since 1991 and 20% of its recording business since 1996.[41][42] As part of BMG’s 1996 agreement with Zomba, the music giant was required to follow through on a put option and buy the remaining shares it did not already own before 31 December 2002.[43][44] In June 2002, Clive Calder decided to exercise the put option.[45] Effective 26 November 2002, BMG Entertainment concluded its deal with Zomba for the purchase of the company’s entire assets.[46] While Calder had originally requested $3.2 billion for his shares in Zomba, valuation of the label’s assets varied from $1.6 billion to $2.4 billion.[44] Following the purchase negotiations, a price of $2.74 billion was agreed upon, the biggest purchase of an independent at the time. Zomba’s sale had been the latest in a series of independent label sellouts including Island Records and Geffen Records (both sold to Universal for $300 million and $550 million respectively), and Virgin (sold for $950 million to EMI). The $2.74 billion paid for the Zomba Group was more than was paid for the purchase of many others labels including Island, Geffen, Virgin, A&M, Motown, Chrysalis, and Def Jam, combined.

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

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

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

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

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

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

Records division[edit]Zomba labels were operated under the Zomba Label Group from approximately 2004 until 2009 (now part of the RCA/Jive Label Group. The Provident Label Groupcontained other labels after its purchase in 1997, but is no longer a part of Zomba. The Windsong purchase gave Zomba control of labels through a variety of company structures including Pinnacle and Rough Trade, however, some of these labels are no longer a part of Zomba. These three groups are organized separately below, followed by a list of inactive or formerly owned labels from various periods.
Zomba’s first, and flagship label is Jive, formed in 1981. Since then, Zomba has acquired and created a variety of labels and label groups that either operate independent from, or under Jive. During its independent period, the various record labels under Zomba all reported directly to a records division.

There was no formal public face for the labels until BMG formed Zomba Label Group in 2004. Though the term “Zomba label group” or “Zomba Group records division”[16][61] had been used previously to refer to the various labels owned by the company, it wasn’t until then that an actual company was created to control the labels specifically.[49][62] The Zomba Recording Corporation continues to coordinate production activities on many Zomba subsidiary releases.From 1981 until 1987, Zomba labels were distributed by Arista. Following that, Zomba signed a deal with RCA for distribution that lasted until 1991. The end of the deal coincided with BMG purchasing a large share of RCA and a deal with BMG was signed for distribution. BMG remained the North American distributor for Zomba until after the purchase in 2002, however, other regions had various other distributors over time.[59] EMI became an important distributor for Zomba in Europe via Virgin Records, but distribution details are listed below in the Regional Branches section. Zomba only controls one small vinyl pressing plant, therefore, most of their manufacturing has been outsourced to companies such as Sonopress (BMG affiliated), Sony and Technicolor.[59]In 1996, Zomba acquired 75% of UK distributor and label group Pinnacle, 80% of the Rough Trade label and distribution in the Germany/Switzerland/Austria (GSA) region, and 100% of Rough Trade Benelux. Effective 8 July 1999 Rough Trade Records was renamed Zomba Records GmbH and the Rough Trade sales and distribution arm was renamedZomba Distribution, operating as a division of Zomba Records GmbH.[25][63] As of the BMG purchase, Zomba conducted its own distribution in the UK (with Pinnacle), Germany, Austria and Benelux (all with Zomba Distribution). In those areas, Zomba also distributed for other, smaller independent labels. In France, Italy, Portugal, Spain and Sweden, Zomba had its own marketing and sales, however, distribution was handled by EMI (through Virgin in most cases). In Finland and Greece, Zomba material was exclusively licensed to EMI who controlled marketing, sales and distribution. North American distribution has almost exclusively been with BMG. Following the BMG purchase in December 2002 and subsequent integration in June 2003 and the end of contracts with EMI (also in June), all distribution has been handled by the local BMG companies. When BMG merged with Sony, Sony BMG became Zomba’s distributor from 2004 until early 2009. Since then, Zomba products have been distributed by Sony Music since Sony purchased BMG’s interest in their joint-venture.

Zomba Recording Corporation[edit]

Zomba Recording Corporation (previously Zomba Productions Ltd., and sometimes colloquially referred to as Zomba Records[64]) is a music company and division of the Zomba Group. The US affiliate is Zomba Recordings LLC[51] and the UK affiliate is Zomba Records Ltd. The company also runs an investment and financial services company called Zomba Ventures Inc.[65][66]

Primarily a production company, Zomba Recording Corporation coordinates various activities for the recording process including hiring musicians, managing studios, and organizing production, mixing and mastering personnel. Recordings made under the coordination or supervision of this division are usually marked with the phrase “An Original Sound Recording Made by Zomba Recording Corporation (or Zomba Recordings LLC/Zomba Records Limited/Zomba Productions Limited).” While not strictly a record label, Zomba Recording Corporation appears on most of the various sublabels that Zomba owns. Additionally, the minimal manufacturing as well as some distribution that Zomba does on its own is run through this company.

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

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

Zomba Label Group[edit]

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

Provident Music Group[edit]

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

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

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

Zomba International Records Group[edit]

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

Other inactive/former labels[edit]

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

Publishing division[edit]

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

Management companies[edit]

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

Film/television services[edit]

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

See also[edit]

External links[edit]

Official Site


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


Created & Written By Tiwanda ‘Ne Ne’ Lovelace 

E.O.A.A. Weekly News Article: Friday, April 22, 2015


Most people go about their business and daily grind without any issues, while others are subject to constant questionable violations. Most are able to mail simple packages worry-free and they have faith that their items will reach their destination whole and unhampered.
Well, I have definitely mentioned in previous posting that there have been issues with mail tampering but I guess since some find it easy to challenge the validity of previous claims since they were dated. In my opinion, it has become necessary to once again demonstrate that there are those who are and have been continually abusing their unwarranted access, positions and power to further hinder my efforts to obtain justice and resolution for continued allegations of corruption.
I RECENTLY DECIDED THAT I WILL CONTINUALLY, PERSIST WITH MY EFFORTS TO EXPOSE THE CONTINUED, DELIBERATE VIOLATIONS OF MY CIVIL RIGHTS, COPYRIGHT INFRINGEMENTS, AND MANY OTHER ILLEGAL ACTIVITIES, UNETHICAL BEHAVIOR AND MUCH MORE…I mailed very important a total of (4) four packages. (2) two on April 14, 2015 and another (2) two on April 15, 2015… Please review package and  tracking information below for proof of undeniably questionable mail tampering in 2015.
Although I have previously copyrighted materials in the past, I have never sent them REGISTERED and PRIORITY MAIL. REGISTERED MAIL is a service offered by the United States Post Office that is supposed to guarantee security of your package by keeping your package under lock and key during transit. REGISTERED MAIL service also requires a signature of each postal worker that comes in contact with your package during delivery.


Georgia Northern District Atlanta Division – Civil Action Fie No. 1:03-CV-0925-WSD
Tiwanda Lovelace, Pro Se Plaintiff
Dekalb County Police Department, Defendant
Hon. Judge William Duffey
This complaint alleges judicial misconduct and violations of civil right.



Tiwanda Lovelace, Pro Se Plaintiff
Zomba Music
Publishing, INC. and BMI, Defendant 
Hon. Judge Bernard Friedman
This complaint alleges judicial misconduct, courts ignoring violence, COURTS CLERKS hindering justice by manipulating, editing and mislabeling filings, violations of civil right failure to uphold the law.



PACKAGE 3 U.S.P.S. TRK #RB572662546US  

THIS PACKAGE CONTAINS COPYRIGHTS FOR INVISIBLE: LIVING IN AMERICA WITHOUT RIGHTS! (Perfect bound 290 pages of documented proof). Exposing corruption, civil rights violations, copyright infringements, etc…



(Multiple Comb-bind booklets, Agreements, Comic Strip series which seriously depict the trials and tribulations that victims of this system
allows to transpire.)

This program is meant to encourages educating our future aspiring Artist to learn from my experiences by utilizing my publications which demonstrates tactics and methods used to steal the artist lives. Exposing corruption, civil rights violations, copyright infringements, etc…

I sent these (2) TWO other packages,





I understand that there are no deliveries on Saturday and Sunday, but clearly if it was not rerouted to Jamaica, New York…it would arrived on time FRIDAY, APRIL .17, 2015.
How many other citizens have these mail issues? Convenient delays…but the real question that needs to be asked is, ‘What are the odds of these copyrights and complaints have of being delayed?’ 
Why did it take so many hours before leaving Las Vegas, NV?  You cannot block or hinder mail unless you know when it is being sent…
What are the odds that those 30 hours were used to manipulate submissions? Why else would these violations be allowed to continue, if not due to corruption and abuse.
Again, who do you think would be able to delay mail that is supposed to be under lock and key? 
Is it a coincidence that the MAIL that is being sent and most likely ‘gutted’ would expose the most heinous of acts thrust upon individuals forced to live as outcast by those in positions of making a difference while the public scorns.
With each attempt to obtain assistance or with each effort, I am faced with additional hardship or pressure to succumb due to lack of support and ostracism. 
Each instance of hindering justice, ignoring  and blocking resolution by mail tampering only continues to violate my civil rights. 
No one should be refused the same opportunities and rights guaranteed by the constitution to exercise these rights that are denied when mail that is being sent to proper officials. 

Further supporting documentation is available in the tabs above this blog!


I am well aware of the usual procedures implemented to address these kinds of wrongdoing involving these major entities. However, it has also been my personal experience that those who attempt to pretend to address these concerns usually don’t put the victims best interest first due to monetary gains and social impact on society.  It has been my experience that relying on secret remedies are truly for the benefit of the violators so that they may remain unaffected. My twenty plus years has clearly demonstrated that those in positions of power are he’ll bent on preserving this evil and my public has no interest in allowing proper recourse  (again, due to social impact on society).

All while some misrepresent this situation or those who imply interest in resolution…there are many who are undermining these efforts with indirect actions which encourage further victimization and dehumanization.

To those that would attempt to mislead, judge, rejoice and misdirect….

Why don’t you redirect yourselves to some decency, a conscience and to your humanity!

So while some are using every justification known to mankind…

I am the one that has to listen to the laughter and mocking of my public saying, 10 minutes, $10. So because of this and after decades of being unable to combat lies and manipulations…I can assure you that I am no prostitute and your methods and hesitation only ensures continued unwarranted violations of the worse kind.

So I will not be letting go, nor will I remain silent while empowered and misinformed animals continue to run rampant.

SWP, LLC has compiled a set of books which shed light on the darkest side of the business of music. Copyright © 2013 Created and Written by Tiwanda ‘Ne Ne’ Lovelace 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.

Music Business: Tricks of the Trade!




E.O.A.A WEEKLYFriday, September 26, 2014, Written by Tiwanda ‘Ne Ne’ Lovelace Bio | Email Website | Twitter | YouTube | Online Store 

“The information in this 
article derived in full and in part from 
Music, Murder and Mayhem – A True Story! 
and Music Business: It’s a Dirty Game!
All copyrights reserved”
Music Business: Tricks of the Trade!

“Understanding the Game!’

In my previous Article: 6, “What’s in Your Contract?” I mentioned the importance of reviewing your contracts, knowing what to look for in your agreement. I feel the need to provide more information regarding specific parts of your agreements.

In the beginning of my venture at seeking a career in music, I wish that I have someone to share the whole truth about the business with me.
When you sign a music related or music publishing contract, it should be ‘a given’ and fully understood that they would want to pursue royalties. You would think that they would want to defend your work since they are contracted to receive a percentage of your work because you are a part of their team.
The first thing that comes to mind is that you are protected by this major music publishing company. You believe that they will fight for you because they have a stake in your work as well… but in most cases – this is far from the truth.
You would think that most attorney’s would jump at an opportunity to represent a plaintiff against copyright infringement; wherein, copyrights were secured, publishing contracts, proof of mailing, phone records, and recordings of works which were maintained.
I am speaking to you from personal experience when I tell you exactly how it is done. I can provide documented proof of any and all accusations regarding the practices of those in the music business. I am able to demonstrate exactly how the ‘system’ enables and assist with the dehumanization that has been allowed to continue for decades.
Although you may already be aware, I signed a 50/50 Co-Publishing contract wherein I was promised compensation for lyrics and melodies.
Prior to signing with a major music publishing company, I consulted with two separate entertainment attorneys. One of these lawyers was referred by the Bar Association. 
Remember, the simple fact that any well-established entertainment attorney that encourages signing a ‘standard’ contract for low figures, is not looking out for their clients interest. All entertainment attorney’s know that when the deal sours, any potential attorney that the artist seeks for assistance will require a very large retainer after the damage is done.
There has to be something unethical about working against individual artist when they have full knowledge of how the industry operates; yet, they trade favors and artist like slaves.
I never received any monies for the numerous works submitted; which were over forty compilations of lyrics and melodies that miraculously found their way on the radio and up the charts. 
There were no management or producer contracts (signed or otherwise that could be used) to justify refusing payments but this co-publishing contract was not honored but used to take and avoid paying royalties.
Let me demonstrate how the process really works most of the time.
The contracts presented will proudly list all of the major labels and their casting list that are given to you shows popular artist names that they say will be used to shop your materials.

Below this article is a copy of an actual contract portion listing most of the major labels and record companies:

These representatives of Zomba/Jive/BMG used the contract to solicit musical works from its own writers and afterwards parts of works are taken (or materials gutted).
After these gutted works begin to be played in constant rotation, then in their defense of copyright infringements, they used this same contract to state that they can choose not to pursue your infringements.
Although the courts never even allowed the case to be presented (unjustly, dismissed without valid cause), the attorney for the major music publishing company attempted to utilize that ‘standard’ contract in their defense. SEE BELOW:

(Below is an actual portion of a major music publishing company’s contract that is used as a defense against allegations of copyrights infringements):

The kicker is, in the beginning they exaggerate their interest in offering you an opportunity for recording artist deal while their true intentions and purpose is that they are actually ‘working’ you for materials after giving a little up-front compensation.
Later, they will state in their defense that ‘you refused to pursue claims’. 

Pursue claims…with what?

They offer a very small amount for initial investment with full knowledge that after they steal your material, any attorney that is in a position to help would require an enormous amount of money for a retainer in order to represent you. 






Other than the few dollars for the initial song, I never received a dime but I was forced to listen to my materials on the radio that were ‘gutted.’ However, I did received threats and became victims of acts of violence and civil rights
violations. I can only imagine what Sara Baartman had to endure.
The entire ‘system’ encourages the use of the music business as a tool for the influential and powerful to continue to conduct its ‘business’ of stealing lives. I can tell you that this music ‘game’ will leave you starving, bleeding
on the side of the road and fighting everyone – literally. 

When I researched the business, there were no books that told the ugly truth. There are no books that tell you that your contracts and copyrights don’t mean anything to a system geared to protect the wealthy. There are no books that tell you that you have no rights when you don’t have tens of thousands of dollars for a lawyer’s retainer.
There will be so many lies and everyone will believe everything said about you without question and you will be unable to maintain employment or attempt to earn any type of living.
It is important that people understand the ‘game’ and how it ultimately affects others.
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.
They cut, chop and shop your work. They take all of the profits and then tell you that they can choose NOT to pursue your copyright infringements when they themselves are most likely the culprits.
What is truly sad is that these people don’t have to run the business this way but they choose to conduct business in this manner. It would be more profitable to be decent but that would be too much like right.
Conveniently, they can use this contract to basically take your work or even allow your works to be used without pursuing your interest.
Again, I am speaking to you from personal experience when I tell you exactly how it is done. In my experience, I never had the chance to go before the Judge. He completely disregarded my copyrights and ignored my request for counsel.
Don’t forget about the ‘built-in Conflict of Interest concern; in that, no entertainment attorney is going to fight for you against major music labels if it means risking their opportunity for future business.
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.
Ultimately, in spite of having copyrights secured by myself, copies of materials, copies of receipts for overnight mailings, and other correspondences submitted to Zomba representatives, it did not matter. My revised complaint complied completely with Fed. Rules of Civil Procedure but the courts responded as if they did not receive this revised copy. Review the Proof yourself at: Breaking News 

Review the Proof yourself at: Breaking News ! (click here or see below – Breaking News: The Business of Music: Operating wi…)
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, I was denied. The acts of violence bestowed upon my family, friend and others were ignored and all of my supporting documents; such as, copyrights, certified mail receipt, etc… were referred to as miscellaneous papers.
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.
 ‘‘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…
Clearly, I have been denied my rights and they continue to deprive others for decades using the methods listed above.
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.
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?
These major record labels BMG, MCA, PolyGram, EMI, the Sony Group or the WEA Group are listed in the contract and in the casting sheets. They are sent out to their roster of writers in order to shop with these multiple label’s Artist. After
placement of ‘gutted’ works, they decide who they choose to pay or who not to.
These ‘entities’ mentioned in defendant’s response were on Zomba’s casting list and in contract showing that not only did Zomba work with them to place songs; shortly after contract their name changed to Zomba/BMG. 
Zomba’s defense attorney stated in their response regarding songs that were in question that ‘allegations were unclear.’ However; prior to filing suit against them I received a letter stating that they were investigating my claims.
In fact, Zomba denied even receiving or having any works in spite of my return receipts and although some of the songs mentioned in copyright infringements were listed, were actually referenced and within my co-publishing agreement.
‘The Recipe’ has been mastered and fine-tuned to make this dehumanization of mankind an acceptable form of modern day slavery. The situation is presented to the public in many different ways to justify and encourage further abuse. 
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
I say this because when attempting to seek resolution you are faced with the following:
Being denied representation because of either a ‘conflict of interest’ issue due to the industry being controlled. Events are creating to discourage any assistance
The fact that no entertainment attorney wants to slug it out on your behalf for fear of preventing further or future business.
 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.  
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.
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.
There are many who have 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 are and were circumventing justice when I was promoting my books that were exposing the blatant tactics and methods subjected.
Let’s just say that 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.
In short the ‘individual’ does not have rights! Anyone can be presented as undeserving and be denied justice so be aware when you sign any contract!
This may not be everyone’s experience but I can tell you that none of them receives ALL of their compensation, if any.
Remember, there is no such thing as half-way crooks! If any of them can get away with not paying you, they will (even if they have to create reasons why they shouldn’t).
Everything in these Articles and Books are based on fact and can be substantiated with documentation from public record.
I only wish that I had someone take the time to share even a tiny bit of the information with me prior to my decision to pursue a career in the music industry.
Those rights that you believe that you have and are counting own having are simply non-existent.
Your copyrights are useless because the courts that are supposed to enforce the laws will bend to the will of the rich and powerful.
This reminds me of one particular instance where a contract was used to justify blatant injustice in the case of Sara Baartman.
The Sara Baartman’s of today are still put in positions to be killed, never compensated, put on display, lied on and manipulated against, left to die, to be raped and dehumanized. My previous blog tells of her story and can be found at:

Again, there has to be something unethical about working against individual artists and writers when they have
full knowledge of how the industry operates; yet, they trade favors and artist like slaves. 

I will discuss in great detail the problem with the entertainment attorney’s and the issue of ‘Conflict of Interest’ in next week’s Article 8: Conflict of Interest and the Music Business! – Release date – October 3, 2014!

Everything in these Articles and Books are based on fact and can be substantiated with documentation from public record. I only wish that I had someone take the time to share even a tiny bit of the information with me prior to my decision to
pursue a career in the music industry.
Those rights that you believe that you have and are counting own having are simply non-existent. Your copyrights are useless because the courts that are supposed to enforce the laws will bend to the will of the rich and powerful.
I didn’t just run out and write a tell-all book. It wasn’t until many years later that I decided to write my first book on the subject entitled, Music Business: It’s a Dirty Game!
I feel that these Articles and books differ because it doesn’t just give you words from one person’s viewpoint, it provides step by step documentation proving how the artist works are stolen and how they are able to continue stealing lives with this modern day form of enslavement. This book uses contracts with major music publisher, copyrights, court records and more to demonstrate tactics used to steal, oppress and destroy lives.
My plight is not just about a broken heart, it’s not about greed, and it’s not about revenge. I don’t have time to be running around blaming and trying to hurt people. I am too busy struggling and trying to live. It’s about obtaining true freedom from oppressors who have deliberately used lies, money, power and positions to create a form of enslavement. 
  Being that Music is affecting so many lives, a part of everyone’s life and that it is in everything from politics to religion…denying individuals their rights is bad business and we should all make music our business to prevent this from continuing to destroy lives!

Learn, don’t get burned!

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…
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For more detailed information regarding the many groups and what it means to be properly aligned, I encourage you to read Music Business: It’s a Dirty Game!
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Is Age a Factor in the Music Business? The uncut, jaw-dropping truth!


Written by Tiwanda ‘Ne Ne’ Lovelace
Bio Email Website | Twitter | Youtube | Online Store
E.O.A.A. Weekly News Article: Friday, August 29, 2014

Subscribe to E.O.A.A. Weekly!
Is Age a Factor in the Music Business?
“We provide the uncut, jaw-dropping truth 
about the Music Business!”

The world is changing and the business of music is more than what it appears to be. Let’s face it, the bottom line is profits and more profits! 

There are more instance than ever where there is a mature Artist who has been writing behind the scenes suddenly surfaces after being put through the meat-grinder for
decades while surrounded by haters.

In most cases, the newly released artist appear to be about twelve years of age. I would have to agree that there is a lot of talented young artist, writers and producer. Most feel that they are just lucky to have their parents that are able to walk them through the door.

Some would have you believe that the younger the artists, the easier they are to work with but the simple truth is that it is there is usually some family ties to the entertainment industry and/or someone who has simply plugged them in for a very large share of their career. 

In part, it can be compared to why employers tend to hire younger employees…its cost effective. 

However, there is always those who position themselves to work with children for other twisted purposes and the Music Business is no different. I am sure that you have noticed the way that some of these very young children are made to look sexy. I always cringe when I see some of the under-developed Artist presented in questionable ways or provocative clothing and I am thinking…For What? 

I have even heard of cases where the young children/artist are dropped off at recording studios without being chaperoned. 

Personally, I have never been the type to trust and I have always wondered how some parents could entrust their young ones unsupervised with strangers or relatives in these
times. Lapse in judgment on the parents part can lead to detrimental outcomes so don’t be naïve about what can happen behind closed doors.

It’s no secret that many get involved with the music business for money, music and sex but let’s leave these children alone. I am so sick of hearing about alleged acts involving children and no one is held accountable. 

So the question arises, “Is age a factor?” I would like to believe that anything can happen to advance your career because I have learned that timing is everything. 

“Always remember that everyone cannot be evil 
and there is always a way.”

Unfortunately, I would still be inclined to say that age is definitely a factor.

The age of the artist can affect your career course in that small minded individuals may apply their own philosophy as to whether they feel that they can market you. 

This can be dangerous because they may not tell you directly because they may have intentions of stealing your fresh ideas or possibly be interested in using you to further their own career. 

Although they may be harboring ill intentions, they will never express this to you openly.

The business of music is more than just a business, it is shaping the world that we live in because it is in everything from politics to religion.

In my opinion, music is a wonderful gift that should be respected and used as a positive motivating force.

However; just as beauty can be perceived by some as a curse, the business of music generates billions of dollars in profits and we all know that money brings problems.

Imagine what individuals are willing to do for just a piece of the billions of dollars.

In my opinion it’s comparable to using independent contracts and vendors. Those behind the scenes are not monitoring the local executives, producers and attorneys.

The problems is not that there isn’t enough money to be made but it is the greed that entices those to hoard the profits. It is greed and desperation that causes some to
conspire against the aspiring artist. 

Many of these individuals have dedicated countless years to their careers and have nothing to show for their sacrifices, this can lead to desperation.

Eventually, the tension between the ‘have and the have-nots’ erupts and then violence ensues (which is usually presented to the public as gang-related incidents).  

To put it plainly, a lot of the individuals associated with developing and bringing in these billions of dollars from sales are not compensated properly or not compensated at all.

I’m sure that at one point in your life you have heard the phrase, ‘There’s no such thing as half-way crooks.’ 

You can rest assured that if and when you find yourself in bad company, it won’t be long before they will try to cut you out completely in any way possible immediately after you have served their purpose. If there is any way possible to avoid having to compensate most, they will.

Although predominantly it is minorities and women who are subjected to this form of treatment, it is not limited to these individuals. 

The truth is, money has but one color – GREEN!

Previously, I mentioned that because of the billions of dollars in profits, the entertainment business is into everything and their money could easily provide access and influence which includes; the courts, politicians, police, library of congress, etc…

I will address many questions in the Articles and Newsletters ahead regarding the many groups and about protecting yourself but let’s address protecting your works through copyrights. 

How important is copyrighting your materials to protect your work and does it really matter? 

Here is some information for you to research for next week  “Copyrights, Are You Protected?”

Library of Congress for Copyrights:

Copyright Website:

Copyright Office Fees:

For more specific, pertinent information regarding copyrighting your material for your protection, I encourage you to read, Music, Murder and Mayhem – A True Story. 

This title is currently available and free in an audiobook at:

Currently, if your works meets certain criteria you may be able to file your copyrights electronically but you will be still required to submit printed copies to be kept on
file. You may file your works as a collection to reduce the cost or fees involved in registering your work.

For more detailed information regarding the many groups and what it means to be properly aligned, I encourage you to read, Music, Murder and Mayhem – A True Story

This title is also in an eBook form at: and

Printed copies currently available at:


Is copyrighting your works enough to protect your work? Does your Copyrights ensure that you will be able to stop or prevent copyright infringements?

Find the answers to many questions in future articles and newsletters ahead regarding the many groups and what it is to be properly aligned… Subscribe!
For more detailed information regarding the many groups and what it whether that Certificate of Copyrights is sufficient to ensure your rights to works, I encourage you to read Music, Murder and Mayhem – A True Story.

This title is currently available and it is free in an audio book version at one of our websites:

This title is also in an eBook form and printed copies currently available at:
Learn, don’t get burned!


Find the answers to many questions in future Weekly News Articles regarding the many groups and what it is to be properly aligned…Subscribe!
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