E.O.A.A WEEKLY: Friday, November 28, 2014, Written by Tiwanda ‘Ne Ne’ Lovelace
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WHO WOULD YOU TO TURN TO?
IN ADDITION TO OFFICIALS IGNORING BLATANT CRIMINAL ACTS,
MUSIC BUSINESS: ‘Puppet Masters’ and ‘Musical Chairs’
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.
Moving On Up The Line
companies (now a subsidiary of Sony Music Entertainment)
with Clive Calder in the 1970s. In the mid-90s, he was
Records in Hollywood and started EMI Music’s global New
DOES THIS SOUND LIKE A GAME TO YOU?
I assure you that this is no game. Here I am twenty plus years later…still fighting for scraps and being stripped of everything from housing to basic necessities for decades.
I may not have the money to advertise, promote and market like I need to but this is unacceptable! I don’t want to hear no words. There is no excuse for this mess to continue. I never plotted to hurt anyone and this should have been resolved decades ago. I am an unaligned female without connections but nobody should be able to deprive anyone of the rights and ability to receive or pursue proper resolution.
THIS ENTIRE PROCESS IS SHADY, UNETHICAL, EXTREMELY QUESTIONABLE AND ILLEGAL…
Nobody asked or explained anything to me Before or After I began to be victimized;
privately or publicly! I never plotted to hurt anyone and this should have been resolved decades ago.
I, Tiwanda ‘Ne Ne’ Lovelace am an unaligned female without connections but nobody should be able to deprive anyone of the rights and ability to receive or pursue proper resolution REGARDLESS OF SEX, RACE OR FAMILY BACKGROUND.
WHO WOULD YOU BE ABLE TO TURN TO?
a teenager, I began a telephone relationship with Jay Sloane, a DJ at a local
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.
pretense of good will while working together to deceive – as mentioned in Music
Business: It’s a Dirty Game!
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.
at the door. The officer held up a search warrant in connection to a double
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.
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.
opposition to previous expressed satisfaction.
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.
still wounded pretty badly.’
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…
1995 Envelope from Zomba:
in front of the house when one of my hate-filled neighbor’s children chased him
into the street.
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.
lyrics and melodies after we discussed each work?
Reeves, Isaiah Thomas, Thomas Hearns, John Salley, Lee Marcus, and Leonard Jones among
other prominent business colleagues.
“Chacho” Salazar, III. All distributed through an arrangement with Universal.
WHO WOULD YOU BE ABLE TO TURN TO?
Each of these individuals assisted directly or indirectly in the deprivation of rights,through or by either inaction or actions (up to and including acts listed; intimidation, violation of civil rights, corruption, encouraged public persecution, the raping of women and children. Because of their acts, inaction or misrepresentation of events or refusal to follow or uphold the law!
The SHORT LIST
- Richard Blackstone
- Dave Renzer
- Kymberlee Thornton
- Michigan Attorney Grievance Commission
- Whichever officials that keep interfering with mail & email delivery
- Michael Powell and his associates who assisted
- Jake Salazar
- Lee Marcus
- Art & Rhythm’s – Larry Roc Campbell, Zomba’s AnR
- Paul D. Allen
- Larry Hatcher
- David McPhearson
- Howard Hertz, Attorney
- Alexander Kuhne, Attorney
- Jerome Barney, Attorney
- Judge Bernard Friedman
- Judge William Duffey
Governmental, Local Agencies and Groups ALSO contacted
It is not important to me the ‘who’ however, it is very important to explain that I have made every effort to try to correct this injustice. Understanding the complexity of this world and its court system, I reached out to many for assistance by providing supporting documentation and requested intervention from the beginning.
See list below:
Lovelace vs. Zomba
List of Attorneys, Organizations, and Agencies
DHL airway Recipient Info. / Delivery date and signature of agent Bill no.
772707017012 Karen Bragg/ Ticket Master /c/o Goldstein,
3701 Wilshire, 7th Fl., Los Angeles CA 90010
Delivered – 03/06/1996, at 11:37 am, signed by Decker
77277017001 Attorney General, Dept. of Law, Consumer Fraud
120 Broadway, 3rd Fl., New York, NY 10271
Delivered – 03/08/1996, at 10:55 am, signed by Williams
7930401651 Volunteer Lawyers of the Arts/ Robert Libcke,
1212 Griswold, Detroit MI 48226
Delivery – 03/11/1996, 11:23 am, signed by Matthews
77277017701 Freeman Hawkins / Roger Goode, 4000 Sun Trust Plaza,
303 Peachtree St., Atlanta GA 30308
Delivered – 03/13/1996, at 10:59 am, signed by Johnson
8142801144 The Honorable Judge Linda Warren-Hunter,
565 N. McDonna St., Decatur, GA. 30032
Delivery- 03/18/1996, at 12:57pm, signed by Vortice
8184537104 Attorney Grievance Commission / Philip Thomas / A. Kuhne
Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259
Delivery-03/26/1996, at 10:57am, signed by Buchanan
8184537093 Attorney Grievance Commission / W. Neeley / J. Barney
Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259
Delivered-03/26/1996, at 10:57am, signed by Buchanan
8184969726 Attorney Grievance Commission / W. Neeley / J. Barney
Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259
Delivered-03/29/1996, at 10:22am, signed by Buchanan
Lovelace vs. Zomba
List of Attorneys, Organizations, and Agencies (cont.)
DHL airway Recipient Info. / Delivery date and signature of agent Bill no.
8184969962 Business Volunteers of the Arts, Robert Libcke
1212 Griswold, Detroit MI 48226
Delivered – 03/29/1996, at 9:47am, signed by Matthews
8184969951 Better Business Bureau, 257 Park Ave., South New York NY 10010
Delivered-04/02/1996, at 10:15am, signed by Ojeda
8184969741 Attorney Grievance Commission / Howard Hertz
Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226
Delivered-04/04/1996, at 10:47am, signed by Buchanan
9271866590 Ken Burrows, 425 Park Ave., 26 Floor New York NY 10022
Delivered-02/19/1996, at 8:56am, signed by E. Addy
9271866586 Don Wilson, 4929 Wilshire Blvd., #1010 Los Angeles, CA 90010
Delivery-02/20/1996, at 9:26am, signed by S. Girad
5219002596 – Don Wilson returned package 03/11/1996
8865881905 Karen Bragg c/o Goldstein, 3701 Wilshire Blvd., 7th Fl.
Los Angeles, CA 90010
Delivered – 02/22/1996, at 10:09am, signed by K. Eubanks
8865881883 Zomba / Deborah Keegan, 137-139 West 25th St. New York NY 10001
Delivered- 02/22/1996, at 11:08am, signed by W. Corian
8865881894 Attorney Grievance Commission, Suite 256, Marquette Bldg.,
243 West Congress, Detroit MI 48226
Delivery-02/26/1996, at 9:56, signed by D. Smith
8681158172 Federal Trade Commission, Division of Marketing, Rm. 238
6th St & Pennsylvania Ave., NW. Washington D.C. 20580
Delivery-03/04/1996, at 2:39pm, signed by I. Hudgins
9736039725 – Federal Trade Commission / Delores Johnson,
Package returned 03/13/1996
9649642623 The Honorable Janet Reno, Department of Justice,
Tenth & Constitution Ave., N.W., Rm. 4400 Washington D.C. 20530
Delivered-03/13/1996, at 12:46pm, signed by B. Breitspr
9291390780 Prosecutors Office, 1441 St. Antoine Ste. 1200, Detroit MI 48228
Delivery-03/26/1996, at 11:46am, signed by S. Johnson
814280 Attorney Grievance Commission / J. Barney, Suite 256, Marquette 243 West Congress, Detroit MI 48226
Delivered-04/09/1996, at 10:19am, signed by Buchanan
8142801166 Department of Justice, Anti-Trust Division, Jacob K. Javitts Federal Bldg.,
26 Federal Plaza, Rm. 3630, New York NY 10278
Delivered-04/09/1996, at 10:03am, signed by O’Donnell
8142801155 Better Business Bureau-New York / Mediation Division,
257 Park Ave., S., New York NY 10010
Delivered-04/09/1996, at 9:01am, signed by Ojeda
8184537082 Freeman, Hawkins / Roger Goode, 4000 Sun Trust Plaza
303 Peachtree St., Atlanta GA. 30308
Delivered-04/15/1996, at 10:36am, signed by Johnson
8184969796 Butzel Long / Michael Poterala,
150 West Jefferson, Suite 900, Detroit MI 48226
Delivered-04/23/1996, at 10:46am, signed by Burks
**This is one long list that consist of very prominent attorney’s, groups and organizations. **
I can understand why it is so important for this information to remain hidden. If this was to be released, it would reflect poorly on each entity. It is probably because these are the same entities that are supposed to uphold and protect the rights of the people; yet, they were unwilling to enforce the laws.
Possibly Jay Sloane has some involvement due to past association.
Las Vegas F.B.I., D.O.J., U.S. Postmaster, and more were contacted with supporting documents but ignored the blatant violations of rights.
Some of these individuals were associated with or represented other groups who attempted to use these atrocities for their own purposes and/or monetary gain. These groups are known for supporting the degradation of women.
WHY IS IT THAT ALL OF THE MEN INVOLVED ARE ALLOWED TO PROFIT AND LIVE UNSCATHED AFTER THEIR CONTRIBUTIONS TO WHAT HAS LED TO CONTINUED VIOLATIONS?
Don’t hide behind your money, positions and friends! Be the men that you were when you made the decisions to place blame, steal, ignore, etc…
Why hide? Go ahead and let everyone see you help hold down individuals while you and the public screws them out of their dignity, rob them of their rights, etc… I would like to hear what reasons it is that you provide your family to explain your actions.
But I have to tell my loved ones to be careful and don’t send that child to public school because ‘my public’ harasses me with homeless jokes, rape jokes, etc…
AM I SUPPOSED TO RUN TO ANY ONE OF THESE INDIVIDUALS OR GROUPS AFTER THEY HAVE PROFITED FROM THESE ATROCITIES OR WORSE PLACING BLAME FOR THEIR LOSSES?
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|
|Parent company||Sony Music Entertainment|
|Founder||Clive Calder, Ralph Simon|
|Distributor(s)||Sony Music Entertainment|
|Country of origin||United Kingdom|
|Location||London, EnglandNew York, NYNashville, TN|
|Official website||Zomba Label Group.com|
South African Roots: Calder, Simon and Lange
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. 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.” 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). 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. 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.
Zomba in London
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. 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. The name “Zomba” referred to the capital of African country Malawi (Lilongwe superseded Zomba as Malawi’s capital in 1974).
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. 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. 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.
In early 1978, Zomba opened offices in New York City and began looking for more artists and songwriters. 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. 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
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.
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. 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.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. 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. 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. 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. 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. Calder bought out Simon’s half of the company and subsequently gained full control of the company. 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. BMG continued with a 20% purchase of Zomba’s records division in 1996.
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.
 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. 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. 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. 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. 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. 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. Expanding on the Brentwood purchase, Zomba purchased the Christian label group Reunion Records from BMG in October 1996. In 1997, Zomba purchased yet another Christian music affiliated company, the Benson Music Group, from Music Entertainment Group. 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. 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. 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. Directed by Stuart Watson, the new organization allowed each new local territory to freely sign and develop acts on its own. If those artists could create a strong regional profile, it would be possible to “export” them to Zomba International for broader exposure. 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. 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).
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.
Teen Pop explosionAround 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.
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.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.” 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. *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. 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. 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. 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.” The lawsuit was settled on 23 December with undisclosed terms, but left Jive free to release future *NSYNC albums.
The lawsuit, which Rolling Stone called “the music industry’s nastiest legal skirmishes in years,” was problematic for Zomba for two main reasons. 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. They also signed a new deal with the Backstreet Boys that gave the band a 20% royalty rate.
From BMG to Sony, and recent activities
BMG had owned 25% of Zomba’s publishing business since 1991 and 20% of its recording business since 1996. 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. In June 2002, Clive Calder decided to exercise the put option. Effective 26 November 2002, BMG Entertainment concluded its deal with Zomba for the purchase of the company’s entire assets. 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. 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. Calder resigned his position as CEO immediately after the purchase, but stayed on in an advisory position for about another year. In mid-2003, BMG began its worldwide integration of Zomba cutting hundreds of jobs through the consolidation of regional operations. 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. By 2004, the record labels were reorganized under the Zomba Label Group.
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. 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. 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. 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.
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. 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. 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. 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 structureFor 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. 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).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. 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 divisionZomba 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” 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. 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. 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.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. 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
Zomba Recording Corporation (previously Zomba Productions Ltd., and sometimes colloquially referred to as Zomba Records) is a music company and division of the Zomba Group. The US affiliate is Zomba Recordings LLC and the UK affiliate is Zomba Records Ltd. The company also runs an investment and financial services company called Zomba Ventures Inc.
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. 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. 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. 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. 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. 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.
Zomba Label Group
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.
- Battery Records
- Jive Records
- LaFace Records
- Silvertone Records
- So So Def Recordings
- Volcano Entertainment
- Verity Gospel Music Group (previously Zomba Gospel)
Provident Music Group
- Benson Records
- Essential Records
- Flicker Records
- Reunion Records
- Verity Records
Windsong (Pinnacle, Rough Trade, Music For Nations)
- Collins Classics – Opened in 1989, closed in 1998.
- Connoisseur Collection – Released high quality, mid price compilation.
- Music For Nations – Metal/hard-rock label that closed in 2004.
- Pinnacle Entertainment – Entertainment group largely known for being the largest UK distributor of independent record labels.
- Rough Trade (80% of Rough Trade Records Germany/Switzerland/Austria and 100% of Rough Trade Benelux) – German distributor and label group.
- Windsong Exports – Exporter of music and film/TV.
- Windsong In Concert – Windsong’s collection of “BBC In Concert” recordings.
- Form & Function
- Our Choice
- Reihe Ego
- Rough Trade
- World Service
Zomba International Records Group
|Zomba Records Australia Pty. Ltd.||24 May 1999||Sony Australia||Sydney, Australia||Scott Murphy (March 1999 – Feb. 2001)Paul Paoliello (1 March 2001 – ?)|
|Zomba Records (Canada) Inc.||1 July 1999||BMG Canada||Toronto||Laura Bartlett|
|Zomba Records APRO Pty Ltd.(also called Zomba Records Singapore)||1 July 1999||BMG Singapore||Singapore||Julius Ng|
|Zomba Records GmbH (Germany)||8 July 1999||Zomba Distribution||Köln, Germany|
|Zomba Records GesmbH||8 July 1999||Zomba Distribution||Vienna, Austria|
|Zomba Records GmbH (Switzerland)||8 July 1999||Zomba Distribution||Zürich, Switzerland|
|Zomba Records Benelux||8 July 1999||Zomba Distribution||Hilversum, Netherlands||Bert Meyer (1999–2003)|
|Zomba Records France SARL||1 October 1999||Virgin||Paris, France|
|Zomba Records Scandinavia AB||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)|
|Zomba Record Holdings BV||1999||Zomba Distribution||Brussels, Belgium||Thierry Thielemens|
|Zomba Records New Zealand Ltd.||1 July 2000||BMG New Zealand||Auckland, New Zealand||Morrie Smith|
|Zomba Records Korea Ltd.||1 July 2000||Rock Records||Seoul, Korea||Chang-Hak Lee|
|Zomba Records Espana SA||1 July 2000||Virgin||Madrid, Spain||Andres Ochaita|
|Zomba Records Italy SRL||1 July 2000||Virgin||Milan, Italy||Roberto Biglia|
|Zomba Records Japan KK||1 October 2000||Alfa Records(First)Avex (Second)||Tokyo, Japan||Tak Kitazawa|
|Zomba Records Portugal||1 July 2001||Valentim de Carvalho||Lisbon, Portugal||Andres Ochaita|
|Zomba Records Brasil Ltda.||1 July 2001||Som Livre||Rio de Janeiro, Brazil||Martin Davis|
- : Distribution information in this chart is from approximately 1999 until the BMG integration.
- : 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.
- : 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. The Denmark and Norway operations later closed on 1 July 2002, leaving the Swedish office remaining.
Other inactive/former labels
- 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.
- Conifer Records Ltd. – Classical label formed in 1977, purchased by Zomba in 1992 and sold to BMG in 1996.
- 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. 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.
- Connect 2 Music
- Zomba Special Projects – Imprint established in 1997 for specific projects like releases sold through McDonald’s restaurants.
- 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.
- 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.
- 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)
- 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.
- 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)
- Cohen, Jane; Bob Grossweiner (6 July 2007). “Industry Profile: Ralph Simon”. CelebrityAccess.com. Retrieved 25 September 2009.
- Knopper, Steve (2009). Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age. New York: Free Press. (primarily Chapter 3)
- Pederson, Jay (2003). International Directory of Company Histories 52. New York: St. James Press. ISBN 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)
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