One World Media and Sheffield Marketing Group to spend $19.4B in Entertainment Industry for Job Creation

ATLANTA, Jan. 21, 2014 /PRNewswire/ -- In 1948 during the signing of the U.N. Charter, a World Media Council was planned that eventually became a Media Conglomerate, and a World Media Distribution plan was born in the interest of the unification of world media to enhance the distribution of media and television projects.

(Logo:  http://photos.prnewswire.com/prnh/20140121/CL49606LOGO)

One World Media entered into a 157 movie deal worth 19.46 Billion dollars with Sheffield Marketing Group, the silent partner behind some of the largest marketing projects in the world. The two companies are coming together in the interest of Global Economic Recovery to meet what was thought to be an unrealistic goal of 98% employment in the Entertainment Industry.

One World Media and Sheffield Marketing Group are in meetings to determine which companies will be the recipients of project funds. Some of the companies being considered include:

• DreamWorks SKG
• DreamWorks Animation          
• Overture Films
• Screen Media Films
• Pacific International Enterprises             
• IFC Films 
• Vision One Media
• Hannover House    
• Spiderwood Productions       
• Vivendi Entertainment
• Tyler Perry Studios 
• 20th Century Fox           
• 20th Century Fox Animation
• Fox Searchlight Pictures             
• Fox Atomic             
• Metro-Goldwyn-Mayer Animation
• Orion Pictures Corporation  
• American International Pictures             
• Filmways
• Focus Features
• Rogue Pictures
• Paramount Vantage
• Screen Gems                         
• Destination Films    
• Castle Rock Entertainment
• Walt Disney Pictures              
• Marvel Studios                       
• Touchstone Pictures
• Hollywood Pictures
• Miramax Films                         
• Artisan Entertainment
• The Weinstein Company
• Troma Entertainment              
• Elevating Entertainment Motion Pictures
• Gener8Xion Entertainment     
• Promenade Pictures               
• Sherwood Pictures
• PolyGram Filmed Entertainment              
• Trimark Pictures     
• Samuel Goldwyn Films                                                           
• Magnolia Pictures   
• Uncommon Productions
• American Technologies
• Friendware

One World Media and Sheffield Marketing Group also plan to hold the 1^st Annual Global Media Awards with categories such as

• Largest Sponsor
• Best overall concept
• Best Innovations
• Most Humanitarian and Historical value
• Realism  
• Quality of Special Effects

We are told the award show will be a two day event because of the vast variety of talent to recognize and the total amount of awards to be given.

One World Media is currently holding a Worldwide Talent Search looking for Models, Actors and Actresses, Comedians, Dancers, Writers, Rappers, Singers, etc. for a host of Action Movies, Comedies, Sitcoms, and all things Entertainment. 2014 is going to be an exciting year!

All participants will need to register to receive placement in major upcoming projects funded by the two powerhouses. Registration also includes vouchers for aspiring artists to use on Photo shoots (to include hair and makeup), Complete EPK'S, Bio's, etc.

Investors and Program Sponsors are also encouraged to register to become eligible for The Global Media Awards Ceremony.  

********************Must be enrolled to be nominated********************

For more information: email us!               
To register for  registration@one-worldmedia.net               
For Job Placement and intern opportunities casting@one-worldmedia.net                 
Please visit One World Media Facebook Pg. For Entertainment Job listing Listings.             
To book appointments for an audition send an email with your press kit (8x10 Head Shot, Autobiography, Demo Reel or links to YouTube, oneworldmediaatlanta@gmail.com            
Funding resources provided for The Global Economic Recovery Council by U.S. Capital Funding II Series Trust I.  http://www.reuters.com/article/2011/06/13/idUS105078+13-Jun-2011+BW20110613#!                  
http://www.youtube.com/watch?v=8aQdpZQ-VwQ  http://www.youtube.com/watch?v=n-Dnq_sgdKo                               
Find us on LinkedIn at: http://www.linkedin.com/pub/hrh-robert-fowler/17/560/b34
Follow us on Twitter at: www.twitter.com/djcasanovany  

One World Media: The One World Media website is currently under reconstruction. We will issue a press release prior to its unveiling. It will be an unforgettable experience.

One World Media             An irrevocable Express Trust under Common Law                
6555 Sugar Loaf Parkway, 307-113                 
Duluth GA 30097             
HRH Robert Fowler                  
Tel. 678-920-5701                      
trustee@one-worldmedia.net

HIP HOP AINT DEAD!

People always say Hip Hop is DEAD. What a oxymoron statement… My opinion is this: Hip Hop is most def alive. The problem is poor management from the bottom to the top. Poor choice of A&R reps with no experience, egotistical, hungry for power and dumb asses. Some are BDS chasing A&R's with no ear for music or brain for business. Some A&R's only have love for the money and not love for the craft and can care less about Hip Hop. If you love Hip Hop the craft of music 1st the money will follow in that order. Artist and A&R's needs to be carefully reviewed if executives want Hip Hop to continue to grow and stay alive. Executives that is in position needs to regroup and get it together. I can go on and on and elaborate on all the errors especially with our youth dieing away all for the love of HIP HOP. They have a misconception of Hip Hop and not being taught the TRUTH in how to position themselves as legends and young entrepreneurs. It goes back to MANAGEMENT. Some advisers or managers focus on the women, ego, clothes, cars and how they should sell out and keep up with paid for advertisement in which is a TRAP for our youth. SMH!! It's fucked up and now our youth thinks that's HIP HOP. Then they say HIP HOP is dead. It's not HIP HOP it's WE THE PEOPLE in the wrong position of teaching.

Reactable

H A P P Y H O L I D A Y S ! ! !

  H A P P Y   H O L I D A Y S ! ! !:   

Christmas Wishes

I am dreaming of a snowy white Christmas, with every Christmas card I write, May your days be merry, dazzling and May all your Christmas be bright.

M E R R Y   C H R I S T M A S 

https://plus.google.com/111878589245354695381/posts/DH9g6uaRDGK Christmas Wishes I am dreaming of a snowy white Christmas, with ever... TopcaT@PeachTreeMusicGroup.Com
https://plus.google.com/111878589245354695381/posts/DH9g6uaRDGK

My #1 Attorney in the WORLD. "Stephanie R. Lindsey"

      http://www.thelindseyfirm.com

Decatur Office-Sattelite Office

315 West Ponce de Leon Ave.

Suite 806

Decatur, Georgia 30030

By Appointment Only

Attorney

About Mrs. Lindsey

Stephanie R. Lindsey received her Bachelor of Arts degree from Mercer University with a

double major in Political Science and Communication, a Masters in Public Administration

from Georgia College & State University, and completed her law studies at John Marshall

Law School in two years. In 2000, Mrs. Lindsey her law career by forming the law firm, The

Lindsey Firm, P.C.   The Lindsey Firm, P.C. began with a practice concentration in

commercial transaction litigation and negotiation. By 2002, civil litigation was integrated into

the practice. In 2003, Stephanie R. Lindsey and Michael G. Leeper joined firms and created

Lindsey Leeper, LLC. Lindsey Leeper, LLC proudly represented clients in the area of family

law, criminal law, bankruptcy, personal injury, workers compensation, real estate law and

civil litigation until the passing of Michael G. Leeper in 2008.

Since 2008, Mrs. Lindsey has been a sole practitioner practicing in the areas of personal

injury, family law and criminal law throughout the State of Georgia.  Her primary concentration

in the practice is Wrongful Death, Nursing Home/Elder Abuse, Crime Victim Representation,

Catastrophic Injuries and Automobile/Truck Accidents.  She maintains the following

professional association memberships: Georgia Trial Lawyers Association, Georgia Association

of Criminal Defense Lawyers, DeKalb Bar Association, Newton Bar Association, Georgia

Association of Black Women Attorneys and New Rock Legal Society.

Stephanie R. Lindsey is admitted to practice law in the following courts:  U.S. Court of Appeals,

U.S. District Court, Northern District, U.S. District Court, Middle District, U.S. District Court,

Southern District, Georgia Supreme Court and Georgia Court of Appeals.

I would like to give thanks to Ms. Lindsey. While on my journey, I greatly appreciate the support

and words of wisdom. #LoveUMs.Lindsey

                   

                                            

                                             From: Antonio Randolph

        

                

Music - Split Sheet Percentages

Music Producer Collaborations and Songwriting: Split Sheet Percentages

As the music world continues to evolve, the distinctions between music genres are beginning to blur. Producers are collaborating with artists in different music genres to appeal to a more diverse audience so that the potential for success increases. Unless you are a super producer like Pharrell or Timberland producing for Justin Timberlake, this means that producer deals for these collaborations will follow the customary terms of the artist’s genre, particularly when it comes to determining a producer’s copyright ownership share of the musical composition, or the song. This determination could be an unpleasant surprise if you are an Urban producer who is crossing over to Rock, Country, or any other music genre so it is important to know beforehand what to expect.
The following are the important issues for producers to consider regarding copyright ownership in a song and my observations over the years of genre specific industry standards so that you can make an informed decision when presented with a collaboration opportunity in another music genre.
What Exactly Is Publishing?
First of all, let’s start with a brief description of how copyright ownership relates to the frequently-used term, “publishing.” This topic alone could be an entire article by itself because it is routinely misunderstood. Publishing is a non-legal term that is used to refer to a collaborator’s copyright ownership in a song. The copyright in a song actually consists of two halves, a writer’s share and a publisher’s share, but some people casually use the word to represent both shares. A copyright owner is free to do whatever he or she wants with their portion of the song, such as assign it to a publisher independently of the other copyright owners. The purpose is to earn royalties and other income from album sales, radio play, and licensing, which is why determining the division of a song is so important. The bottom line is that if you do not understand the details of publishing make sure you hire someone who does or you could be generating only half the income that you otherwise are entitled.
What Are Split Sheets And Why Are They Important? (Song Split Sheet Percentages)
A “split sheet” is an agreement that identifies each contributor to a song and sets forth each person’s copyright ownership percentage. The split sheet should include other pertinent information as well, such as the contributors’ performing rights organization (ASCAP, BMI, SESAC), the specific contribution of each person (i.e., beats, melody, core lyrics, hook), and the start and completion dates of the specific contribution. Also, it should indicate whether different versions of the song were created. These details may not seem important in the early stages of creating a song, but a split sheet serves as each contributor’s evidence of copyright ownership and will assure a third party, such as a potential publisher, of your undisputed interest. For clarity purposes, do not mistake a split sheet with registering your copyright interest with the U.S. Copyright Office. A split sheet and a federal copyright registration together will give you solid proof of your copyright interest in a song.
The biggest mistake that collaborating songwriters and producers make is failing to complete a split sheet. This is a problem because if the song becomes successful, which is the intent of all collaborations, then there is a risk that one of the songwriters, or more likely his or her publisher, will claim that he or she should own a larger percentage of the song than originally assumed. Also, under U.S. Copyright Law, if no agreement exists between the contributors, the default assumption is that all of the contributors jointly own an undivided equal share of a song. This division may be acceptable in situations where the actual work was equal among the contributors, but the default would also apply where one person makes only a minimum contribution, such as a sound engineer that never signed a work-for-hire agreement. The easy way to alleviate this potential problem is to have the song contributors fill out a split sheet prior to getting too far into the creative process. The excuse I frequently hear is that nobody wanted to “rock the boat” during the creative session, which is a valid concern, but my recommendation is to have the collaborators meet at a time and place outside a creative session to discuss business and sign a split sheet.
A split sheet is also important because your administrator or accountant can use it to collect your royalties from record companies and your performing rights organization. This is important because a distributing record company will withhold all mechanical royalties generated by singles and albums that embody a song where the ownership percentages are not correct. Likewise, the performing rights societies will withhold all performance royalties until any split disputes are resolved.
How Are Splits Typically Determined?
In concept, splits should be allocated according to a collaborator’s contribution to a song. Unfortunately, this is not a bright line concept because a contributor may believe that his or her contribution is more valuable to the final result than the other contributors may view it to be. For example, if a song is divided up based on quantifiable measures, such as the lines of lyrics or music written, then a contributor who only wrote the hook to a song would only be entitled to about ten percent of the overall song. The contributor who wrote the hook might not believe this method to be fair if the hook is frequently looped in the song and clearly raises the quality of the entire song, which is typical in rap. There are countless examples like this so the bottom line is that all of the contributors need to come to an agreement and sign a split sheet.
What Split Should I Receive As The Producer Of A Song?
The true answer to this question is the same answer that applies to all terms in music contracts, “it depends on the situation,” but since that typical attorney answer is probably going to result in a blank stare on your face and make you question why you are even reading this article, let me offer some insight according to my experience. Each genre of music has its own “standards” when it comes to dividing up copyright ownership to the contributors of a song. In Urban music (Hip-Hop/Rhythm & Blues), a producer is typically going to receive a minimum of fifty percent (50%) of the song, less any portion allocated to existing samples, because the music significantly contributes to the success of a song. To warrant such a large share an Urban producer is expected to not only deliver a finished master, as opposed to just beats, but to also manage the project and sometimes mentor the artist. In the Rock and Pop genres a producer typically receives an equal share of all of the contributors based on the notion that the music and lyrics are equally important to the end result. Rock and Pop producers are also expected to help make the song successful by using their connections with industry professionals. In Country, a producer typically does not share in copyright ownership unless the producer also contributes lyrics. I have done deals where a producer receives a fee that is intended to compensate the producer for his or her efforts and buy out any rights, but I have noticed that Nashville publishers are not interested in dealing with producer contributors. Lastly, in the jazz and classical genres, producers rarely receive any copyright ownership in a song. As you can see, if you are an urban producer you may not be interested in collaborating with certain other genres unless there is an ancillary benefit.
Are Industry “Standard” Splits Set In Stone?
There are no absolute deal terms in the music industry but unless you have some kind of leverage and a good attorney, you will probably not be able to receive deal terms more favorable than the industry standards set forth above.
The term “leverage” is basically a strategic or tactical advantage over a contracting party, or you have something that the other person wants so they want to be down with you. This could be a connection that you have with a company or person, an attractive upcoming project that could be used to cross-market, or something else that is desirable. If you have leverage then the most effective way to use it is to have an experienced professional, such as a manager or attorney, maximize your deal terms. If strategically done, you will not offend the other party and end up with a great deal.
What if a Producer is part of a group or band?
With respect to groups that include a producer member, it is important to enter into a group agreement so that there are no misunderstandings. I have worked with groups that decide to divide all copyright ownerships equally regardless of the group member’s contribution and I have worked with groups that assign the copyright ownership to a jointly owned publishing company and determine on a song-by-song basis how each contributor will share in the income. The agreement is whatever works for the group but what you do not want is to create songs with no agreement in place and allow the opportunity for a dispute to arise after the fact. Despite the fact that, legally, a co-owner of a copyright can grant certain non-exclusive rights, a company or person in the music industry is not likely to offer an opportunity for a song that is in dispute.

HARRIS ENTERTAINMENT