The producer was awarded over $9 million after suing the singer's estate.
After a nearly four-year long legal dispute, this week Michael Jackson's long-term producer Quincy Jones is finally awarded nearly $10 million after he sued the estate for in unpaid royalties from music used in the star's documentary and two shows from Cirque du Soleil.
Quincy Jones at Netflix's 'Sandy Wexler' premiere
On Wednesday (July 26th 2017), the 84-year-old producer was handed a massive $9.4 million in damages for lack of royalties from music used in the 2009 'This Is It' documentary and two Cirque du Soleil shows. It's less than a third of the $30 million he originally sued for.
Continue reading: Quincy Jones Victorious In Michael Jackson Royalties Lawsuit
Quincy Jones attending The Art of Elysium presents Stevie Wonder - celebrating the 10th anniversary of the HEAVEN Gala held at Red Studios in Los Angeles, California, United States - Saturday 7th January 2017
Justin Kauflin is a young piano genius who lost his sight following a rare eye condition, but who continued to be praised by the likes of multi-millionaire record producer Quincy Jones and trumpeter great Clark Terry. Kauflin first met Terry while he was studying at William Paterson University, and soon went on to be mentored frequently by him. An extraordinary relationship begins between them, with Terry encouraging Kauflin's phenomenal talent and helping him to conquer his stage fright. Soon enough though, Terry needs support of his own as he himself starts to lose his sight. As Kauflin helps him through his deterioating condition, Terry becomes a beacon of strength to Kauflin as he gears up for one of the scariest events of his life: the Thelonious Monk International Jazz Competition.
Continue: Keep On, Keepin' On Trailer
The legendary music scene of Seattle is visited ahead of Budweiser Made in America festival.
Nirvana remains to be one of the best things to come out of Seattle
Seattle has one of the most legendary music scenes in America so it's only right that we delve into their record collection as Budweiser Made in America festival quickly approaches.
Budweiser Made in America is all for musical diversity, celebrating the different subcultures of sound in all cities be it the country twang of Nashville, the superstar pop of LA or the Motown domination of Detroit. That's why Budweiser have put their heads together to release this series of nationwide music documentaries ahead of the festival, to cement that important ideology of variation and musical freedom.
Soul-singing Cardiffian Noah Francis Johnson presents a musical autobiography in the shape of his debut album 'Life & Times'.
He may have kicked off his solo music career late in life being now in his fifties, but Cardiff-born singer Noah Francis Johnson has certainly proved that time and patience is enormously beneficial with his soulful debut offering.
Not that his interest in performing is a new route in his life, as Noah has been in and out of working men's clubs around the UK since he was 7-years-old. Born in Tiger Bay, the Welshman took up entertaining with the encouragement of his parents who, particular his father who was in a band called The Shades, were also very musical. His previous forays into music have included fronting rock band Ellis and touring the UK and Europe supporting the likes of Slayer, Jamiroquai, Lenny Kravitz and Gil Scott Heron among others. Music hasn't always been his sole passion, however, having won belts as a Welsh professional boxer and even becoming a world disco dancing champion in his younger years. Now, though, he's ready to unleash his first musical offering to the world in the form of his autobiographical new album 'Life & Times', which he admits he has been unknowingly writing since the age of 9.
Continue reading: Introducing: The 'Life And Times' Of Noah Francis Johnson
The music mogul is taking the Jackson estate to court over unpaid production royalties and breach of contract
Quincy Jones is taking Michael Jackson's family estate to court over allegedly unpaid royalties, with his estimates claiming that he is owed $10 million from the estate of the late King of Pop. Jones produced the majority of Michael's most popular works, and believes he is being duped out of millions of dollars worth of earnings generated by the ever-profitable recordings he worked on.
Jones says he is owed big bucks from the Jackson estate in unpaid royalties and contract breaches
The 27-time Grammy winner served as the producer on some of Michael's most successful albums, including Off the Wall, Thriller and Bad, and he is now taking Sony Music Entertainment and MJJ Productions - a song company controlled by MJ's estate - to court over unpaid royalties. Among the ventures associated with the late pop icon that Quincy wants compensation from include the This Is It film and OST album, the two Michael Jackson Cirque du Soleil productions and the 25th anniversary edition of the Bad album that was released in 2012.
Music Legend Quincy Jones claims he is owed millions of dollars over some of Michael Jackson’s posthumous music releases.
TMZ reported, Jones is suing Michael Jackson Productions (MJJ) and Sony citing the works 'This Is It' movie, the Cirque du Soleil stage show and the 25th Anniversary of the 'Bad' album, which contain music that Jones produced.
The lawyer for the Michael Jackson addressed these allegations to the gossip website and said;
Continue reading: Quincy Jones Sues Michael Jackson Estate Over Owed Royalties
Dave Brubeck, the jazz musician heralded for defying convention and experimenting with complex rhythms, has died in Norwalk, Connecticut - he was 91. Brubeck, who would have turned 92 on Thursday (December 6, 2012), gained pop star-like acclaim for recordings including Take Five, and Blue Rondo a la Turk. He died of heart failure en route to "a regular treatment with his cardiologist," according to his long-time manager and producer Russell Gloyd, who spoke with the Chicago Tribune.
Eschewing conventional swing rhythms, Brubeck's work was admired outside of jazz circles and he took his mix elegant sound to colleges in the 1950s, smashing to pieces he long-held notion that jazz had no place in academia. In the 60s, he achieved phenomenal success with The Dave Brubeck Quartet, selling millions of albums whilst playing with the likes of Duke Ellington and Ella Fitzgerald. The group's 1959 album Time Out spawned Take That, the biggest selling jazz single of all time, still used in countless television programmes and movies, among them the BBC's Secret Life of Machines and NBC's Today programme. It has been covered by the likes of Al Jarreau, George Benson, Quincy Jones and The Specials. The track is generally considered to be the first jazz competition to achieve mainstream significance, reaching No.25 on the Billboard Hot 100 and breaking the Top 5 on Billboard's Easy Listening survey - a precursor to the now Adult Contemporary chart. Ironically, the track wasn't even written by Brubeck - the hefty royalty cheques were picked up by saxophonist Paul Desmond before his death in 1977. He left the royalties for performances and compositions of Take Five to the American Red Cross, which has since received around $100,000 per year.
In later years, Brubeck composed music for operas and ballet while performing for several world leaders. In 1988, he played for Mikhail Gorbachev at a Moscow dinner hosted by then-President Ronald Reagan. "I can't understand Russian, but I can understand body language," Brubeck said after seeing the general secretary tapping his foot. The jazz legend was still touring in 2009 at the age of 88 and was a recipient of the Kennedy Center Honours later that year. The same honor was bestowed upon Led Zeppelin this week.
Continue reading: Dave Brubeck Dead Aged 91; Jazz World Mourns True Pioneer
In 1985, Simon quietly travelled to South Africa to record tracks for his next album, invited by local musicians. But he and was shocked by racial tension he saw between blacks and whites there, and afterwards was caught off-guard by criticism from anti-Apartheid leaders who said his visit violated the boycott.
Simon argued that he wanted to avoid politics and collaborate with fellow musicians. For them, working with a world-class artist was a chance in a million. And Ladysmith Black Mambazo leader Shabalala says Simon was the first white man he'd ever hugged.
Continue reading: Under African Skies Review
Whether this was Spielberg's most desperate attempt to win an Oscar (didn't work: The Color Purple received a whopping 11 Oscar nominations and won precisely zero) or a genuine kinship with the black women of the 1910s we'll never really know. But Purple is a solid enough film, though it lacks true inspiration and gets a little wandering and lost after an hour of running time (and you've still got 1 1/2 more to go!).
Continue reading: The Color Purple Review
The cameo-driven, "Mission: Impossible 2"-spoofing, movie-within-a-movie, pre-title sequence of "Austin Powers in Goldmember" is the funniest five minutes to date in this spy comedy franchise. Then Mike Myers shows up and ruins everything.
Still trapped in a skit-comedy frame of mind all these years after leaving "Saturday Night Live," his short attention span has made the "Austin Powers" movies little more than a string of brief, loosely-related set pieces which are often 98 percent setup and 2 percent punch line.
Myers goes miles out of his way to make a reference to the 1983 song "Mr. Roboto" by the band Styx, for example. Then he spends nebulously unfunny gaps between such gags to make fleeting mentions of the plot, which in this case concerns Dr. Evil -- Myers cueball goofball homage to James Bond's maniacal bald nemesis Blofeld -- teaming up with an scabby Dutch roller-disco owner named Goldmember whom Evil has transported from the 1970s.
Continue reading: Austin Powers In Goldmember Review
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