#Sony Music U.K. | Explore Tumblr Posts and Blogs

sweetdreamsjeff · 4 months

Text

Jeff Buckley in the U.K.

JEFF BUCKLEY loved British music; the nervous energy in British punk, the wired consciousness of the Clash, the way Siouxsie and the Banshees went from gun-metal moodiness to skies full of fireworks.

He adored the Cocteau Twins, of course, especially Liz Fraser's "impossible voice". He loved how the Smiths called to outsiders and nerds. He loved the textures of Johnny Marr's supple guitar and the mordant presence of Steve Jones's guitar in the Sex Pistols.

Jeff, whose own nervous energy was considerable, became even more wired whenever we went to the UK; he was stimulated by its variety. He also appreciated its compactness – the lack of eight-hour drives between cities was refreshing.

Sony had passed on Live at Sin-é in Europe. We were understandably disappointed, but there was a solution close at hand: Steve Abbott, known to everyone as Abbo, who ran the eccentric indie record label Big Cat and had picked up on many of the promising un-signed bands playing in New York: Pavement, Mercury Rev, Luscious Jackson. He had approached Jeff after Gods & Monsters and Sin-é shows and asked him if he'd like to record with Big Cat, but then Sony stepped in. Jeff felt that he owed Abbo a record, so when Columbia UK passed on Live at Sin-é and Michele Anthony instigated a funding deal with Big Cat, it seemed the perfect opportunity for them to become involved. Abbo jumped at the chance.

Big Cat's small team – Abbo, co-owner Linda Obadiah, Frank Neidlich in marketing, and Jacqui Rice in press – did such a good job that the week it was released in Europe, Live at Sin-é sold over four thousand copies, which was amazing for a complete unknown.

After a Sony conference, where it was clear that a lot of the affiliates were bemused by him, Jeff had a warm-up show at Whelan's in Dublin. By the time he came on, the crowd, several drinks into its evening, had become a little boisterous. Jeff said hello softly, as usual, but no one was really paying attention. Jeff just stood there, waiting. People started to quieten down and watch to see what he would do. There was a pint of his favourite beer, Guinness, sitting on the stool next to him. Jeff lifted the glass to his lips and downed it in one hit. Everyone on the room cheered, and he began the Irish show with the crowd completely on his side.

The audience was more blasé the next night at his London debut at The Borderline, a Western-themed venue under a dubious Mexican diner in Soho, right in the heart of London, a group of local reps for hip American indie labels like Sub Pop and Merge yacking away rather disrespectfully at the bar. In the age of grunge, a lone guy with a guitar softly singing Edith Piaf covers was baffling for some.

"It was an epiphany for me," says Sara Silver, Sony's European head of marketing. "There are some shows where it just feels like you're a voyeur, looking into someone's soul. This was one of those. He was charismatic, but also haunting, and I think because of my particular situation at the time, still suffering from the [loss of my husband], he resonated hugely. This haunting sound was a powerful force, and it was my job to work out how we took it to the world."

A gig the next night in Glasgow meant an early-morning flight back to Heathrow the following morning to catch a session with GLR, London's local BBC station, a slot designed to alert people to the next couple of gigs at the Garage in Islington and at Bunjies, a cute little basement folk club in Central London that dated back to the early 1960s and made Sin-é seem generously proportioned.

Abbo was accompanying Jeff on this run.

"We'd meet regularly at a bar called Tom & Jerry's in New York, hang out and drink Guinness together," Abbo says, "I suppose I became a friend of his, and he didn't seem to have many real friends. I'd only discovered I liked the blues since living in New York, so it was great hanging with him, because he was a huge blues and jazz fan and if there was a guitar around he had to pick it up and show off. He knew every Robert Johnson song, every Muddy Waters tune, Bessie Smith; he introduced me to the physicality of the blues, watching it at close quarters. Everybody talks about his voice, but he was a brilliant guitarist. The guitar was an extension of his body.

"Tim Buckley hadn't really entered my line of vision growing up listening to black music. Singer-songwriters with fluffy hairstyles were not currency on my council estate in Luton! We were in Tom & Jerry's and someone said to Jeff, 'I've been listening to your dad,' and I said, 'Who's your dad?' and he said, 'Tim Buckley.' I knew the name from record shopping; I'd seen the sleeves in the racks, but that's it. But when he came over to Britain there were loads of Tim Buckley fans. And it was a real problem early on, because he really didn't like talking about him."

The traffic from the airport to the GLR studios just off Baker Street was awful. A road accident had slowed everything to a standstill. Jeff's slot on the mid-morning show was fast approaching. "Of course, this was before mobile phones, so I had no way of communicating with the radio station that we were stuck in traffic," says Abbo. "For the last few days on this tour, everyone who'd interviewed Jeff had been asking about his dad. How did Tim write 'Song To The Siren'? Was there stuff in his lyrics that he might have related to? Things Jeff couldn't answer.

"We were listening to GLR while we waited in traffic and the presenter kept saying, 'We're supposed to have this artist, Tim Buckley's son, turning up, but he's late....Will he or won't he turn up?' This went on and on. She must have said 'Tim Buckley's son' about four times and didn't mention Jeff once. Suddenly, he just kicked my car radio in with his big DMs [Doc Martens], just smashed the fascia and then sat back sulking all the way there. I could get another radio, of course, but I was mostly worried he wasn't going to do the performance.

"We finally arrived about forty minutes late and they were all so rude to us, and yet they knew what the problem was, as they were broadcasting traffic updates and warnings of delays themselves. If I were him, I'd have walked out. The female presenter was a typical local radio DJ, a bit gushy and knew nothing about him and his music. I had a word with the station manager to ask her to stop mentioning Tim Buckley, and he handed her a note to that effect. Jeff just sat there silently and she said, 'What are you going to play?' and Jeff said, 'A song.' I'm thinking, 'Oh god, here we go.' And he started to play "Grace." He did this long guitar introduction, went on for about a minute, like he needed to calm himself down before he got to the actual start of the song, and then he launched into the most electrifying performance. The best I ever heard him do it.

"There were about six phones in the control room, and they all started lighting up. 'Who is this? Who is this? It's amazing!' And all the time, Jeff's getting more and more into it. The presenter went from being this standoffish woman to...I swear she would have thrown herself on him given half a chance, the second he finished singing. You could see she was totally enthralled."

Presenter: "You looked quite exhausted at the end of the song."

Jeff: "I was getting a lot of anger out. Something happened on the way here..."

"The phones didn't stop throughout the next song. The station manager said that in all his twelve years at the station, he'd never seen a reaction like it."

Abbo thinks this performance sparked Jeff's breakthrough. There were certainly plenty of people in line outside the Garage in North London that night. Inside, the first stars were taking note. Chrissie Hynde and Jon McEnroe were in the audience. Chrissie had been a big fan and a friend of Tim's, had actually interviewed him while she was briefly a music journalist with the NME, and she was obviously curious to see how his offspring compared. They struck up a conversation after the show and she clearly said the right thing, because he went off with her to jam with the Pretenders in a nearby rehearsal room. I wasn't carrying anything heavy because of a recent lung collapse, and I didn't want Jeff to pull any important muscles, so I asked McEnroe if he wouldn't mind. He happily hauled Jeff's amp downstairs to the car. The Pretenders' jam with special guests Buckley and Mac went on all night.

Bunjies, as I've said, was tiny, a basement folk club and coffee bar on West Street in Soho, along from the Ivy, with gingham tablecloths and melted candles in wine bottles on the tables and a performance area tucked into a couple of arches in what must have been a wine cellar at one point. It looked unchanged since it had begun in the early 1960s, and had seen a couple of folk booms come and go. It was more of a cafe with an open-mic policy by this point, which felt like a good place for Jeff. There wasn't really any need for amplification, so when we arrived for a sound check there was very little to do but see where Jeff was going to stand in the cramped space and gauge how his voice reflected off the nicotine-stained ceilings. While Jeff did that, I went outside for some fresh air and was stunned to see a line of people already waiting to get into the show.

I took a look at the guest list and realised we'd be lucky to fit twenty of this assembling crowd in the tiny space. Every time I looked up, the line was getting further down West Street. I went back into the venue and found Jeff talking to Emma Banks, the agent. He was saying how great the venue was and that he'd like to do something like hand out flowers to everyone before he went on.

"Jesus, you won't believe what's happening out there," I said to them. "The line goes about four blocks. There's no way these people are going to get in. Is there any way we can do two sets?" Jeff was happy to. Emma spoke to the club owner and was told they had some regular club night happening later on. She came back and said, "They can't do it but I've had an idea!" She disappeared up the steps onto the street, and I spoke to Jeff.

"What flowers would you like?"

"White roses," he said.

"I'll get them," I said, and went back up to the street, where the line had grown even longer.

I walked around looking for a florist and bumped into Emma. "I've booked Andy's Forge," she said. "It's a little place just around the corner in Denmark Street. He can go on at 10:30."

I bought as many white roses as I could find. Jeff handed them to people waiting outside and those lucky enough to get into the club, as he squeezed himself into the corner that passed for a stage. He sang upward, listening to his voice reflect off the curved ceiling into this hot, crowded, and attentive space. There must have been a hundred people stuffed in there.

When the show was over, Jeff walked up the steps to the huddle of patient people that Emma had gathered, plus anyone from the first show who wanted to tag along, and led this crowd like the Pied Piper toward Andy's Forge. Abbo was alongside me. "Have you ever seen anything like this before?" I said.

"Never!" he said. And we laughed liked idiots at the wonderful absurdity of hanging out with Jeff.

Jim Irvin, 'From Hallelujah to the Last Goodbye' (Post Hill), May 2018

Excerpted from Jeff Buckley: From Hallelujah to the Last Goodbye by Jeff's former manager Dave Lory and former MOJO man Jim Irvin (Post Hill Press).

#jeff buckley #jim irvin #dave lory #from hallelujah to the last goodbye

9 notes · View notes

maximumwobblerbanditdonut · 2 months

Text

EXCLUSIVE: Clan Fraser continues to grow in numbers as Tony Curran (Defiance, Red Road) has joined the Starz prequel series Outlander: Blood of My Blood as Lord Lovat, Jamie Fraser’s grandfather, in a series regular role.

Production recently kicked off on the new series, a prequel of the Starz hit period drama Outlander, in Scotland. The original series stars Caitríona Balfe as Claire Fraser and Sam Heughan as her husband, Jamie Fraser. The franchise is inspired by the work of Diana Gabaldon, who serves as a consulting producer on both shows.

Blood of My Blood will explore the lives and relationships of Jamie’s parents, Ellen MacKenzie (Harriet Slater) and Brian Fraser (Jamie Roy) and Claire’s parents, Julia Moriston (Hermione Corfield) and Henry Beauchamp (Jeremy Irvine). The 10-episode series will center on the two parallel love stories set in two different time periods, with Jamie’s parents in the early 18th century Scottish Highlands and Claire’s parents in WWI England.

Matthew B Roberts will serve as showrunner and executive producer on the series. Ronald D. Moore and Maril Davis, who developed Outlander for television, under their production banner Tall Ship Productions will also executive produce the series alongside Roberts and Story Mining & Supply Company. Outlander: Blood of My Blood is produced by Sony Pictures Television and will be available across all Starz platforms in the U.S. and Canada.

This is Curran’s second series for Starz currently on the slate. In addition to the Outlander prequel, he is set to star as King James I in Mary & George, opposite Julianne Moore and Nicholas Galitzine portraying the titular mother and son who are scheming social climbers. The seven-part limited series, premiering on April 5, is inspired by the scandalous true story of a treacherous Mary and George Villiers who schemed, seduced and killed to conquer the Court of England and the bed of King James I.

Curran trained at the Royal Scottish Academy of Music & Drama who rose to fame in the TV series, This Life. He has worked extensively across TV, film and theatre both in the UK and US.

Recently he starred alongside Martin Compston and Ashley Jenson in the onscreen adaptation of Andrew O’Hagan’s acclaimed novel Mayflies* for which he was nominated for Best TV Actor at the Scottish BAFTA Awards and won Best Male Actor at the Scottish Television Awards.

Earlier in 2023 Curran also appeared in the second season of Your Honor with Bryan Cranston alongside the 10-part investigative drama series The Calling written by David E Kelly and directed by Barry Levinson.

Additional credits include Outlaw King alongside Chris Pine, Florence Pugh and Aaron Taylor Johnson, the Showtime drama series Ray Donovan and the film version of the Emmy award-winning drama Deadwood, among many others.

He is repped by Innovative Artists and Link Entertainment in the U.S. and Scott Marshall Partners in the U.K. as well as Brecheen, Feldman, Breimer, Silver and Thompson.

__________________

*Mayflies is a two-part BBC television drama starring Martin Compston and Tony Curran, adapted by Andrea Gibb from Andrew O'Hagan's 2020 novel of the same name, and directed by Peter Mackie Burns.

Mayflies is an affecting story of a friendship tested by end-of-life issues, with some fantastic performances from Compston, Curran and Jensen.

4 notes · View notes

scotianostra · 2 years

Photo

Happy Birthday Alan McGee born 29 September 1960 in East Kilbride.

Alan grew up in Glasgow and attended King's Park Secondary School, where he met future Primal Scream founder Bobby Gillespie. McGee left school at 16 with one O grade McGee and Gillespie were heavily into punk rock, and they joined a local punk band, The Drains, in 1978.

McGee went on from there to found a successful club, The Living Room, in London, then buoyed by the success of their club, McGee funded the record label Creation, with two friends. Named after the ‘60s mod rock outfit, Creation Records’ first release was by the Legend! It was a 7" so bad that McGee reportedly hid most of the records underneath his bed, eventually melting them down after a dispute with the band.

He then signed up The Jesus & Mary Chain to his fledgling label. Due to their quite timely sound and some major championing from the star-making NME, the Mary Chain’s “Upside Down” was Creation’s first outright hit single, spending seven weeks atop the U.K. indie charts. Although the band eventually signed to the major subsidiary Blanco y Negro, McGee was able to reinvest the profits which provided them with enough to sign a string of artists who enjoyed success in the Indie charts. Primal Scream’s Screamadelica was a major breakthrough for McGee and the label.

Not the most financially astute man McGee was still losing money, even after he sold 49% of Creation to Sony the signing of bands like Sugar, the Boo Radleys, Teenage Fanclub should have helped but didn’t.

Things only changed when a band from Manchester fronted by a pair of brothers forced their way on-stage at a gig in Glasgow attended by McGee. Impressed by their attitude, he signed Oasis on the spot, resulting in a partnership that would launch both the band and the label into previously unimaginable success. Thanks to the deal in place with Sony, which quickly moved to shape up the anything-goes business style of the Creation offices, Oasis released a series of singles and a debut album that were met with pandemonium across the globe.

McGee a brick wall however when the hectic life of running a successful label and the years of high stress and out-of-control drug use saw him suffering a complete nervous breakdown. He spent the next two years in recovery. He gradually became less and less involved in Creation as Sony executives took over the label.

Alan McGee’s role in shaping British musical culture over the past thirty years is hard to overstate. As the founder of Creation Records he brought us the bands that defined an era. A charismatic Glaswegian who partied just as hard as any of the acts on his notoriously hedonistic label, he became an infamous character in the world of music.McGee continues to have an impact on independent music like perhaps no other, he has been managing bands in recent years including The Jesus and Mary Chain and The Happy Mondays, in 2018 he launched a new record label, Creation23 saying “I want to put records out again…I’ve missed it, 23 is my lucky number”

Bobby Gillespie sums Alan McGee up nicely “McGee was our Malcolm McLaren and Tony Wilson. An instigator and motivator, a born up setter. I’ve never met anyone like him and neither have you.”

Alan admits that during those years ‘We all took too many drugs, my behaviour was quite mad’ In a recent interview he says I'm glad I'm sober and not an absolute nut job

McGee’s autobiography, Creation Stories, was optioned by Burning Wheel Productions and was adapted into a film screenplay by Monday’s birthday boy Irvine Welsh and Dean Cavanagh. Ewen Bremner, best known as Spud in Trainspotting, takes the central role, Danny Boyle is executive producer.

It’s an “okay” film, definitely not of the standard of Trainspotting, but as you would expect with Bremner in the lead role, it raises a few laughs. Richard Jobson plays Alan’s father, Welsh, as usual makes a cameo appearance.

#Scotland #scottish #musician #manager #music history #osais #happy birhtday

5 notes · View notes

passportapproved · 6 days

Text

4.21.24

LISTEN TO THIS WEEK'S SHOW! KEYSIDE – “Turn Back The Time” (Modern Sky, U.K.) GIRL IN RED – “Too Much” (AWAL, Norway) NEWDAD – “Madra” (Atlantic Records, U.K.) GIANT ROOKS – “Under Your Wings” (Universal Music, Germany) CARAVAN PALACE – “Mirrors” (Wagram, France) DOTAN – “Louder” (7 Layers Music, Holland) RADIO FREE ALICE – “Waste of Space” (Double Drummer, Australia) MICHAEL ALDAG – “Sabotage” (3 Beat/Universal, U.K.) ONLY THE POETS – “One More Night” (EMI Records, U.K.) MATTHEW MOLE – “Always By My Side” (Universal Music, S. Africa) NOTHING BUT THIEVES – “Oh No :: He Said What?” (RCA Records, U.K.) TALISCO – “Sorry” (Roy Music, France) GIRLFRIENDS – “Shut Up & Kiss Me” (Versewire, U.K.) DEMPSEY BOLTON – “Couple Minutes” (Unsigned, Canada) JAMIE HANNAH – “What If” (Unsigned, U.K.) RHETT REPKO – “My Love Will Stay” (Unsigned, N. America) ACROBVT – “Neon” (Unsigned, U.K.) TEDDYBEARS – “Cobra Style” (Sony Music, Sweden) SEA GIRLS – “I Want You To Know Me” (Believe/Alt Records, U.K.) TRIBE FRIDAY – “Andy” (ICEA, Sweden) MASI MASI – “Cigarette Smile” (Unsigned, U.K.) DOLORES FOREVER – “Someday Best” (Sweat Entertainment, U.K.) THE K’S – “Heart On My Sleeve” (LAB Records, U.K.) MARIE NAFFAH – “Rust & Blue” (Frictionless, U.K.) CATHOLIC GUILT – “Can You See Me” (Unsigned, Australia) LUCY MCWILLIAMS – “Old Ways” (Unsigned, U.K.) THE CAVS – “The Kids Are Talking” (Unsigned, U.K.) BO MILLI – “Making Friends” (AWAL, Norway) EVERYTHING EVERYTHING – “The End of The Contender” (Propeller, U.K.) MYLES SMITH – “Solo” (Propeller Recordings, U.K.) TRISHA – “Down The Road” (Universal Music India, India) BLOSSOMS – “To Do List (After The Breakup) feat. Findlay (ODD SK Recordings, UK) DARK TROPICS – “Carnival” (Unsigned, Ireland)

0 notes

ljaesch · 3 months

Text

Compilation Album Review: NOW: Yearbook 1988 Extra

NOW: Yearbook 1988 Extra is part of a series of compilation CDs being released in the United Kingdom by Sony Music / EMI, which feature songs that were hits in the U.K. during the year featured on each set. This set is a companion to NOW: Yearbook 1988, and it was released to highlight 60 more of the songs that charted in the U.K. in 1988. Between the three discs included in this set, there is a…

View On WordPress

#1980s #1980s music #80s #80s music #music #music review #NOW Yearbook #aeschtunes

0 notes

ebonynightclubblog · 11 months

Text

Jimi Hendrix Experience (Heirs’ Lawsuit) Headed Back to England

[Ebony Nightclub] Rolling Stone Music News: New York judge decides that a suit filed in the U.K. by the estates of Noel Redding and Mitch Mitchell will take precedence over a suit Hendrix's estate and Sony filed against them in the U.S. http://dlvr.it/SpK2WH

0 notes

webnewsify1 · 1 year

Text

Ed Sheeran: Did he copy Marvin Gaye?

Jury selection and opening remarks are scheduled to begin Monday in a trial that combines Ed Sheeran's "Thinking Out Loud" and Marvin Gaye's "Let's Get It On. The heirs of Ed Townsend, Gaye's co-writer of the 1973 soul song, sued Sheeran, asserting "striking similarities" to "Let's Get It On" and "overt common elements" that breach their copyright. The complaint, which was filed in 2017, has finally reached a trial date, which is set for a week in the Manhattan federal courtroom of 95-year-old Judge Louis L. Stanton. One of the witnesses scheduled to give testimony is Sheeran, 32. Over the past 50 years, "Let's Get It On" has received hundreds of millions of streams, spins, and radio plays and has been included in various movies, television shows, and commercials. The Grammy-winning song of the year, "Thinking Out Loud," has a much more marital perspective on love and sex. Although the jury will most likely listen to both songs' recordings numerous times, their words and vibes have no bearing on the case in any way. Jurors are instructed to take into account just the basic melodic, harmonic, and rhythmic components of "Let's Get It On," as recorded on the sheet music submitted to the USPTO. The songs' undeniable structural symmetry, according to Sheeran's attorneys, simply speaks to the roots of popular music.In a court filing, they stated that "the two songs share versions of a similar and unprotectable chord progression that was freely available to all songwriters." The Townsend family's lawyers pointed out in the case that artists like Boyz II Men have seamless mashups of the two songs, and even Sheeran has switched into "Let's Get It On" during live performances of "Thinking Out Loud." They attempted to show the jurors a possibly incriminating YouTube clip of one of Sheeran's performances during the trial. Stanton rejected their request for it to be included, but he promised to reconsider once he saw the other evidence that had been offered. Though Gaye's estate is not a party to the dispute, it will undoubtedly bring to mind their victorious legal battle against Robin Thicke, Pharrell Williams, and T.I. over the similarity between their 2013 hit "Blurred Lines" and Gaye's 1977 song "Got to Give it Up." It was one of the most significant copyright cases in recent years when a jury awarded Gaye's heirs $7.4 million at trial, which was ultimately reduced by a judge to $5.3 million. In the "Thinking Out Loud" case, Sheeran's record company Atlantic Records and Sony/ATV Music Publishing are also named as defendants. In copyright disputes, plaintiffs typically list a large number of defendants, however a court may strike any names considered offensive. However, Sheeran's song's co-writer Amy Wadge went uncredited in this instance. In addition to writing the 1958 R&B doo-wop classic "For Your Love," Townsend was also a lawyer and a performer. 2003 saw his passing. His daughter Kathryn Townsend Griffin is the plaintiff in the case. Gaye was shot by his father in 1984 at the age of 44 as he attempted to break up a disagreement between his parents. Gaye was already a Motown phenomenon in the 1960s before his more mature work in the 1970s made him a generational musical giant. Major artists are frequently the target of lawsuits alleging song infringement, but almost all of these cases are resolved before to trial, as Taylor Swift recently did in the case of "Shake it Off," concluding a case that lasted years longer than most others and got closer to trial than most others. Sheeran has already demonstrated a willingness to testify in court despite being the focus of copyright disputes due to the influence of vintage soul, pop, and R&B in his songs. Following his victory in a U.K. copyright dispute involving his 2017 hit "Shape of You," he criticized what he called a "culture" of pointless lawsuits meant to extract money from musicians eager to avoid the expense of going to court. Sheeran expressed his concerns in a video that was shared on Twitter after the decision. "I feel like claims like this are way too common now and have become a culture where a claim is made with the idea that a settlement will be cheaper than taking it to court, even if there is no basis for the claim," he said. It's severely detrimental to the songwriting business. The "Thinking Out Loud" lawsuit also makes reference to one of the most prevalent themes in American and British music since the beginning of rock 'n' roll, R&B, and hip-hop: a young white artist who appears to be appropriating the work of an older Black artist. Similar accusations were made against Elvis Presley and The Beatles, whose music was influenced by Black forebears. Read the full article

#edsheeran marvingaye cowriter song singer letsgetiton copywrite thinkingoutloud webnewsify

0 notes

jiangyiwu · 1 year

Text

Will Netflix’s“Theater Before Streaming” Large Scale Debut Save Movie Theaters and Itself?

According to The Hollywood Reporter, “Matilda the Musical”, a Sony/Netflix film adaptation of the successful stage musical was given an exclusive theatrical run in the U.K. and Ireland starting last weekend with more than 1,500 screens in 670 locations. The musical topped the UK box office in its opening weekend, earning about 50% more than Black Panther: Wakanda Forever. Starring Emma Thompson, the movie was released and promoted by Sony Pictures, which, in a unique one-picture deal, licensed the rights to Netflix on the condition that Sony could hold onto the United Kingdom for a theatrical release.

In fact, the video streaming industry has long been chasing after adaptation rights of world or regional famous literature to gain more global audiences attention. According to The New York Times, In 2021, Netflix purchased the entire Dahl estate, giving the company the ability to adapt books like “Charlie and the Chocolate Factory” and “The BFG” into films and television shows while also controlling the publishing rights. The production of “Matilda the Musical”, however, can be traced back to the end of 2019, when Netflix entered into an arrangement that allowed them to finance the movie and produce it in conjunction with Sony and Working Title Films, a U.K. production company. The movie will be available to stream in the United States and other countries on Christmas.

According to The Wall Street Journal, a similar theater before streaming initiative, the screening of “Glass Onion” on about 600 screens in the U.S, is expected to bring in $13.3 million in ticket sales to the company. Yet, whether or not to put more resources into theatrical release is still under debate. Co-CEO Ted Sarandos has opposed doing so in part because of the marketing expenses associated with theatrical releases, and because he is concerned it could devalue Netflix subscriptions, the centerpiece of the company’s business model.

0 notes

ppwbm-blog · 1 year

Text

U.K. : Sony Music, WMG et Ticketmaster soutiennent la campagne "Own Our Venues" pour acheter les propriétés des salles de musique indépendantes

U.K. : Sony Music, WMG et Ticketmaster soutiennent la campagne “Own Our Venues” pour acheter les propriétés des salles de musique indépendantes

L’organisation caritative britannique Music Venue Trust a lancé sa campagne « Own Our Venues » plus tôt cette année dans le but de collecter suffisamment d’argent pour acheter les propriétés des salles de musique indépendantes et ainsi préserver leur avenir. MVT espère acheter la pleine propriété de neuf sites dans le cadre d’un projet pilote d’ici la fin de cette année, et a récemment prolongé…

View On WordPress

0 notes

drewdonaldson · 2 years

Text

C.V 2023

ANDREW PHILIP DONALDSON

PRODUCER/DIRECTOR/D.P/EDITOR/WRITER.

Latin Grammy and Cannes Short Film Awards.

DEMO REEL

Date of birth:

4th June 1977 - Age: 46.

Nationality: British.

Languages: English, Spanish, and some Italian.

Email:

[email protected], [email protected]

Mobile:

U.K (+44) 0 7543 660643

Mexico (+52) 1 55 2132 6985

Web site:

http://drewdonaldson.tumblr.com/

YouTube channel

BIO:

I have produced films in the Americas, India, Africa and, England for the past 21 years, working with networks such as the BBC, ABC News, MTV, and HBO. I co-produced and filmed the Grammy Award-winning documentary “El Objeto Antes Llamado Disco” and Sang del Drac a multiple award-winning Short Film including Best Short Film and People’s Choice at the Cannes Short Film of the Year 2021

as well as numerous videos and documentaries in the field of music with an accumulated 150 million views on YouTube for an estimated 60 videos that I have produced for the likes of Café Tacuba, Julieta Venegas and Nortec, lately I have produced and directed 2 projects Autismo A B P and Koretsky - Signs Of Life (Official Video) that I am keen to share with you. In 21 years I have worked on a total of 20 documentaries, 3 films and lots of music videos.

My true passions and expertise are in Producing, Directing, and Shooting, it’s where I feel most resourceful nowadays!

I see myself as a key element to any production with a professional and ethical way of executing any script, shot list or project.

Skillset - Team leader, problem solver, planner, initiative.

Interests - Film, ecology, sustainability, and anthropology.

Professions -

Producer, Director, Director of Photography, videography, Multi-Camera Director, Editor (Final cut, Premier), Audio Engineer, Social Media Networking. Facebook, Instagram, and YouTube.

Applications -

Final Cut, Premier, Photoshop, Microsoft Office, Excel, iWork, Social Media Networking. Facebook, Instagram, and YouTube.

Past Work -

2022. Paul Hampton - The Great Unknown, Director, D.P. Editor. 2021. Pedro Martinez - Otra Vez. Writer, Director, Editor. 2021. Pedro Martinez - No Es Amor. Writer, Director, D.P. Editor.

2020. Sang del Drac, A.D, Associate producer, 2 Cannes Short Film Awards.

2020. Ole Koretsky-Signs of Life- Homage to Dolores O`Riordan Music video. All.

2020. Tordo - EPK Latest Album (All) Director, D.P. and edit.

2019. Informe Sobre Caricias Guillermo Briseño y Elenco. All.

2019. Cine minuto Autismo, E.P, Writer, Director, D.P and Editor.

2018. Elise Lebec – Saqqara- Making of - Producer.

2018. Elise Lebec – Saqqara- Music Video- Producer.

2017. Rolando Luna-Buena Vista Social Club –Music Video, Dir., D.P., Editor.

2017. Un Aplauso al Corazon - Guillermo Briseño. Director, D.P., Editor.

2017. Natalia Marrokin- A mi Doliente Estrella- Music Video, Producer.

2017. Natalia Marrokin - Go Down and Go Down- Music Video, Producer.

2017. Beto Hale Orbs of Light, Music Video, Producer.

2017. Beto Hale Orbs of Light, The making of, Producer, Camera, and Audio.

2016. Bosque de Niebla, 9 Award Winning Film, Audio, Additional Photography.

2016. Meme de Real- Café Tacuba, Todo va esta bien, Lyric Video, D.P.

2016. Meme de Real- Café Tacuba, Todo va esta bien, Producer.

2016. Alejandra Guzman - Esa Noche - Music Video, Producer.

2016. Beto Hale Closer to You, Music Video, Producer.

2016. Moenia-Sony Records, Music Video Producer.

2015. Ana Torroja – Documentary, Addition Photography.

2015. MTV unplugged Doc - Pepe Aguilar & Meme, Addition Photography.

2015. DLD-Sony Records Cruzadas Music Video, Producer.

2015. Gift - Documentary, Director, Camera, Editor.

2015. Reboot the Robot-Why- Music Video, Director, Camera, Editor.

2014. Nortec - Camino Verde Music Film and Clip, Associate Producer.

2013. Beta - “Luces”. Directo, D.P, Edit.

2013. Cafe Tacuba. - The Film, “El Objeto Antes Llamado Disco”. Photography.

2013. Julieta Venegas. - Music DVD and Clip “Momentos”. Photography.

2013. Cafe Tacuba. - Making of “Aprovechate, Music Video”. D.P.

2012. Cafe Tacuba. - Music Video “Este Lado Del Camino”. Producer, Photography.

2012. Cafe Tacuba. - Tour Concerts (45 In Total) Director of Photography

2010. Duncan Bridgeman’s Film: “Hecho En Mexico”. Camera and Audio.

2010. ABC News: “Special Coverage. Haiti”. The Aid Movement and News.

2009. Mark Vincent’s: “Violence In Mexico”.

2009. HBO: “Sports 24/7. Juan Manuel Marquez vs Mayweather. Series”. Fixer.

2009. HSBC/ Jacaranda Productions: “U.K Cooperate Video”. Audio Mixer.

2008. BBC: “Special Reports Juarez, Mexico”, Camera Operator, Audio and Editing.

2008-2013. MTV Bunin & Murray: “The Island”. Audio Mixer 5 Series

2008. Discovery Channel: “Bullet Proof Vest” Documentary. Audio Mixer

2007. Independent Documentary “Day Noon Night”. D.P, Producer.

2005. World Wildlife Foundation-Telcel: “Papalotzin” (The Journey of the Monarch Butterfly Documentary). Assistant Director, Camera.

I have also had extensive experience working as a Multi-camera Director for over 50 concerts for Cafe Tacuba and Camera Operator for artists such as Iron Maiden, Mumford and Sons, Julieta Venegas, Ariana Grande, and Mick Hucknall from Simply Red.

1 note · View note

overlooked-tracks · 2 years

Text

Utopia Music Buys Leading UK Physical Distributor Cinram Novum

The following article has been posted on September 18, 2022 at 01:19AM:

An Overlooked Tracks News Finding: Here’s an article you might have overlooked. Having a partnership with NewsAPI, we try to catch music entertainment news for you to view, read and possibly enjoy. We will continue to find what’s available in the world of music entertainment, concert information and music releases. But obviously you – the listener and reader are the biggest source for news in your area, so if you can share with us. For right now, look at what we found for you:

“From The Billboard Magazine Website – Utopia Music Buys Leading UK Physical Distributor Cinram Novum”

LONDON — Swiss-based tech company Utopia Music is making further inroads into the record business with the acquisition of U.K. physical distributor Cinram Novum, which provides warehouse, fulfillment and distribution services to a number of labels, including Universal Music Group, Sony Music Entertainment and PIAS.

Terms were not disclosed for the deal, which was done through Utopia’s U.K. subsidiary Utopia Distribution Services Limited. The acquisition marks a significant expansion of the company’s fast-growing music distribution business.

In January, Utopia acquired Proper Music Group, the U.K.’s leading independent physical music distributor, which provides distribution services for 1,000-plus indie labels and service companies and counts Rough Trade, HMV and supermarkets Tesco, Morrisons and Sainsbury’s among its retail clients. Proper also handles “dropship fulfillment” — meaning it stocks and ships vinyl records and CDs directly to customers — on behalf of Believe, The Orchard and Amazon.

In line with the acquisition of Proper, Utopia launched its own dedicated Distribution Services unit at the start of the year, providing independent and major labels with a large suite of physical and digital services, including distribution, sales, manufacturing and marketing.

Utopia Music Buys Leading UK Physical Distributor Cinram Novum

Utopia followed the Proper deal in February with the purchase of Absolute Label Services, a U.K.-based distribution and services provider to independent artists and record labels, also for an undisclosed sum.

Based in Aylesbury, Buckinghamshire (around 40 miles outside of central London), Cinram Novum is one of the U.K.’s leading physical home entertainment suppliers, operating a 350,000-square-foot warehousing and distribution facility. Its business has, however, been hit hard by the fall in physical music and film DVD sales and went into administration in 2017, after which it was acquired by Patriot Group Investments.

Recent years have seen a continued decline in the popularity of physical music purchases in the U.K., although that trend turned around in 2021 when physical format sales grew by 14.6% year-on-year to just under £241 million ($277 million), according to data from U.K. labels trade body BPI.

BPI credited the ongoing resurgence in vinyl sales and the continued popularity of the CD — fueled by big-selling releases by ABBA, Ed Sheeran and Adele — with driving the rise in physical format revenues. Vinyl sales last year grew by 34% year-on-year to £116 million ($133 million), and CD sales ticked up 1.4% to £117 million ($134 million), the first growth for the format in four years.