THE FAIRNESS IN MUSIC LICENSING ACT OF 1998:

Under the Fairness in Music Licensing Act of 1998, bars and restaurants of less than 3,700 square feet and retail stores of less than 2,000 square feet that play music via radio or television sets are exempt from paying performance royalty fees. A protest against the Fairness in Music Licensing Act was filed by music publishers and songwriters residing in EU countries signatory to the Berne Convention, led by the Irish Music Rights Organization.

The protestors claimed that the exemption violated World Trade Organization (WTO) intellectual property rules. The claim was referred to the WTO dispute resolution and panel, which decided in July 2001 that the claim was justified and gave the United States until the end of 2001 to repeal the offending legislation or face damages of $1.1 million per. year retroactive to 1998. In 2002, the United States submitted a status report on what it assured the WTO were productive discussions directed toward arriving at a compensatory series of subsidies for the benefit of EU music creators. As of this writing, a final settlement had not been reached.

Narrator of History by:

Wa’Dell Jones; Artist/Music Producer/Video Director

Co. Rock Of Ages Entertainment

BMI. Pro. Member: 1179604

email address: wadellj0725@gmail.com

KNOWLEDGE FOR TIMES OF CRISIS:

“Crisis, Pandemic, No Faith.”

Crisis is often mistaken to mean “tragedy” or “threat” A truer understanding is that crisis means “a turning point” For the believer, a crisis of belief is a point at which that person either trusts and obeys God or places his own wisdom or interests above God’s. A crisis of belief equals a moment of decision.

In that respect, a crisis becomes an opportunity to serve God and see God work. Opportunities aside, crisis are not without stress. At such times, the strength and value of belonging to a local church comes to bear A local congregation is a family created to act in times of crisis. Their support can make all the difference for the man of God uses in times of crisis.

I sought the Lord, and He answered me; he delivered me from all my fears.

Psalm: 34,4.

Narrator: Minister/Artist/ Music Producer.

Wa’Dell Jones

Co. Rock Of Ages Entertainment

email address: wadellj0725@gmail.com

THE CALLING BACK:

“God is transforming men across our nation.”

Men’s hearts are feeling a tremendous surge of God’s activity today. It is as if God has announced: “The world has had my people long enough! I am calling them back to me. I will mold them and shape them for my purposes in my world! Men are responding to this call, and God is transforming men across our nation. Many men understand this quickening of their souls and know precisely what God is asking of them. They are responding with a resounding. “Yes, Lord!” Others know God is speaking but are unclear as to how they should respond. Yet others recognize a deep stirring in their lives but do not recognize it is God.

This message is put together with much prayer and heart-searching that strong, clear help and encouragement may come to those lives God is touching. There is no question in my mind that if thousands of men “return to God” and God in turn returns to them. (Zech. 1:3), great revival will come through them and have worldwide impact.

Be assured of my sincere prayer and intercession as you study to show thyself approved either personally or an interactive, accountability group. May the Most High God, {Ahayah, I Am that I Am} of Isra’EL receive the highest glory and honor to His Name, as I offer this Post for His use to draw his people back to Himself.

Sincerely:

Minister/Artist/Music Producer.

Wa’Dell Jones.

Co. Rock Of Ages Entertainment

email address: wadellj0725@gmail.com

THE ORIGIN OF SOUL TRAIN MEDIA: HOSTED BY, DON CORNIELUS.

Soul Train

From Wikipedia, the free encyclopediaJump to navigationJump to searchThis article is about the music dance TV show. For the awards program, see Soul Train Music Awards. For other uses, see soul train (disambiguation).

Soul Train
Created byDon Cornelius
Presented byDon Cornelius
(1971–1993; 734 episodes)
Various guest hosts
(1993–1997; 128 episodes)
Mystro Clark
(1997–1999; 76 episodes)
Shemar Moore
(2000–2003; 111 episodes)
Dorian Gregory
(2003–2006; 68 episodes)
Narrated bySid McCoy
Country of originUnited States
No. of episodes1,117 (list of episodes)
Production
Production locationsMetromedia Square
Hollywood, California
(1971–1981)
A&M Studios
Hollywood, California
(1981–1984)
Hollywood Center Studios
Hollywood, California
(1984–1993)
Paramount Studios
Hollywood, California
(1993–2006)
Running time45–48 minutes
Production companyDon Cornelius Productions
DistributorTribune Entertainment (1985–2006)
Release
Original networkSyndication
Original releaseOctober 2, 1971 –
March 25, 2006
External links
Website

Soul Train is an American music-dance television program which aired in syndication from October 2, 1971, to March 27, 2006. In its 35-year history, the show primarily featured performances by R&B, soul, dance/pop, and hip hop artists, although funk, jazz, disco, and gospel artists also appeared. The series was created by Don Cornelius, who also served as its first host and executive producer.

Production was suspended following the 2005–2006 season, with a rerun package (known as The Best of Soul Train) airing for two years subsequently. As a nod to Soul Train’s longevity, the show’s opening sequence during later seasons contained a claim that it was the “longest-running first-run, nationally syndicated program in American television history,” with over 1,100 episodes produced from the show’s debut through the 2005–2006 season. Despite the production hiatus, Soul Train held that superlative until 2016, when Entertainment Tonight surpassed it completing its 35th season. Among non-news programs, Wheel of Fortune surpassed that mark in 2018.

Contents

History[edit]

Chicago origins[edit]

The origins of Soul Train can be traced to 1965 when WCIU-TV, an upstart UHF station in Chicago, began airing two youth-oriented dance programs: Kiddie-a-Go-Go and Red Hot and Blues. These programs—specifically the latter, which featured a predominantly African Americans group of in-studio dancers—would set the stage for what was to come to the station several years later. Don Cornelius, a news reader and backup disc jockey at Chicago radio station WVON, was hired by WCIU in 1967 as a news and sports reporter. Cornelius also was promoting and emceeing a touring series of concerts featuring local talent (sometimes called “record hops”) at Chicago-area high schools, calling his traveling caravan of shows “The Soul Train”. WCIU-TV took notice of Cornelius’s outside work and in 1970, allowed him the opportunity to bring his road show to television.

After securing a sponsorship deal with the Chicago-based retailer SearsSoul Train premiered on WCIU-TV on August 17, 1970, as a live show airing weekday afternoons. Beginning as a low-budget affair, in black and white, the first episode of the program featured Jerry ButlerThe Chi-Lites, and the The Emotions as guests.[1] Cornelius was assisted by Clinton Ghent, a local professional dancer who appeared on early episodes before moving behind the scenes as a producer and secondary host.[2]

Move to syndication[edit]

Soul Train host Don Cornelius (second from right) with The Staple Singers in 1974.

The program’s immediate success attracted the attention of another locally based firm—the Johnson Products Company (manufacturers of the Afro Sheen line of hair-care products)—and they later agreed to co-sponsor the program’s expansion into broadcast syndication. Cornelius and Soul Train‘s syndicator targeted 25 markets outside of Chicago to carry the show, but stations in only seven other cities—WAGA-TVWBRCWJW (TV)WJBKKIAHKTTV, and WKBS-TV—purchased the program, which began airing on a weekly basis on October 2, 1971. By the end of the first season, Soul Train was on in the other eighteen markets.[3] At the time, there were no other commercial television programs being produced by black people for a black audience; the only nationally available show by blacks for blacks at the time was the public television series Soul![4] When the program moved into syndication, its home base was also shifted to Los Angeles, where it remained for the duration of its run. Soul Train was part of a national trend toward syndicated music-oriented programs targeted at niche audiences; two other network series (Hee Haw for country music, and The Lawrence Welk Show for traditional music) also entered syndication in 1971 and would go on to have long runs.

Though Don Cornelius moved his operations west, a local version of Soul Train continued in Chicago; Cornelius hosted both the local Chicago and Los Angeles–based national programs simultaneously but soon focused his attention solely on the national edition. He continued to oversee production in Chicago, where Clinton Ghent hosted episodes on WCIU-TV until 1976, followed by three years of once-weekly reruns.[5] The syndicated version was picked up in the Chicago market by CBSowned-and-operated station WBBM-TV at its launch; the program moved to WGN-TV in 1977 and remained there for the rest of its Chicago run.

Narrator of History by:

Wa’Dell Jones: Artist/Producer/Singer/Songwriter.

Co. Rock Of Ages Entertainment

BMI Pro. Member: 1179604

THE SOUND OF PHILADELPHIA: PHILLY SOUL.

Kenneth Gamble and Leon Huff, the founders of Philadelphia International Records, met in 1964 while they were both playing as session musicians for various labels, including Philadelphia based Cameo-Parkway Records, whose building would later become home to Philadelphia International Records recording studio. In 1965, Huff joined Gamble’s band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, and split up soon after.

When the Romeos disbanded, Gamble and Huff went on to start one of the first iterations of Philadelphia International Records (which they named Excel and Gamble) after a visit to Motown Records in Detroit, to scope out the Motown setup. The success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, a more ambitious project for the duo, was financed by Chess Records, and allowed them to sign later Philadelphia International Records artists The O’Jays and The Three Degrees. When Chess Records changed ownership in 1969, Neptune Records folded. With the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records.[1] Looking to attract new black acts to their label, but without the in-house know-how, Columbia Records was convinced to sign an exclusive production contract with Gamble and Huff’s new Philadelphia International Records.[2]

The label was set up in connection with Mighty Three/Assorted Music, the music publishing company run by Gamble, Huff and another Philadelphia producer, Thom Bell, to showcase their songs.

The label’s major hits included: “TSOP (The Sound of Philadelphia)” by MFSB, featuring The Three Degrees, 1974 (which was later used as one of the theme tunes for the TV dance-music show Soul Train); “Ain’t No Stoppin’ Us Now” by McFadden & Whitehead (writers and producers with the label), 1979; “Back Stabbers” and “Love Train” by The O’Jays, 1972/3; “If You Don’t Know Me By Now” and “The Love I Lost” by Harold Melvin & The Blue Notes, 1972/3; “Me and Mrs. Jones” by Billy Paul, 1972; “When Will I See You Again” by The Three Degrees, 1974; and “You’ll Never Find Another Love Like Mine” by Lou Rawls, 1976.[3]

The label had a distribution deal with CBS Records until 1984. Distribution of the catalog from 1976 onwards was then taken over by EMI Records, but CBS continued to distribute material recorded up to 1976. In 2007, Sony’s Legacy Recordings regained the rights to Philadelphia International’s full catalog and the following year, PIR/Legacy released a box set titled Love Train: The Sound of Philadelphia.[4]

Most of the music released by the label was recorded and produced at Sigma Sound Studios in Philadelphia, with chief engineer and later studio owner Joe Tarsia recording many of the sessions.[5] More than 30 resident studio musicians, known collectively as MFSB “Mother Father Sister Brother”, were based at this studio and backed up most of these recordings.[2] Some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin,[6][7] Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith and John Usry.

Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons‘ first two albums for Epic/CBS after the group had left Motown in 1976. The first, titled The Jacksons featured the platinum-selling single “Enjoy Yourself“, and a second album, Goin’ Places followed in 1977. Although on CBS subsidiary Epic, both albums and the singles also carried a Philadelphia International logo.

In 1965, Gamble and Huff started an independent label, Excel Records. It was soon renamed Gamble Records and in 1972, was folded into Philadelphia International as a subsidiary. In 1974, the subsidiary’s name was changed to TSOP Records, from the aforementioned 1974 hit single, “TSOP (The Sound of Philadelphia)”. Artists for Excel/Gamble/TSOP included Dee Dee Sharp, Archie Bell & the Drells, and The People’s Choice, who had a top 10 single on TSOP in 1976 with “Do It Any Way You Wanna.” Later signings to the Philly International roster in the 1980s and 1990s, included Patti Labelle, The Stylistics, Phyllis Hyman, and The Dells.

Between 1973 and 1975, Gamble and Huff also distributed a boutique label called Golden Fleece, set up by musicians Norman Harris, Ronnie Baker and Earl Young, which released the second album by The Trammps. G & H also had a short-lived subsidiary called Thunder Records. Created by Thom Bell, it only had two singles from Derek & Cyndi (You Bring Out the Best in Me/I’ll Do the Impossible for You) who were produced by Bell, and Fatback Band member Michael Walker whose single “I Got the Notion, You Got the Motion” was produced by his brother and The Spinners‘ member Philippe Wynne.[8]

Narrator of History by;

Wa’Dell Jones: Artist/Producer/Singer/Songwriter/Video Director.

Co. Rock Of Ages Entertainment

Office. # (714)455-2111

Email address: wadellj0725@gmail.com

THE MOTOWN SOUND:

Motown Records
Parent companyUniversal Music Group
FoundedJanuary 12, 1959; 62 years ago
FounderBerry Gordy Jr.
Distributor(s)Capitol Music Group
(US)
EMI Records
(UK)
Universal Music Group
(worldwide)
GenreVarious
Country of originUnited States
LocationLos AngelesCalifornia[1]
Official websitewww.motownrecords.com

Motown Records is an American record label owned by the Universal Music Group. It was founded by Berry Gordy Jr. as Tamla Records on January 12, 1959,[2][3] and incorporated as Motown Record Corporation on April 14, 1960.[4] Its name, a portmanteau of motor and town, has become a nickname for Detroit, where the label was originally headquartered.

Motown played an important role in the racial integration of popular music as an African American-owned label that achieved crossover success. In the 1960s, Motown and its subsidiary labels (including Tamla Motown, the brand used outside the US) were the most successful proponents of the Motown sound, a style of soul music with a mainstream pop appeal. Motown was the most successful soul music label, with a net worth of $61 million. During the 1960s, Motown achieved 79 records in the top-ten of the Billboard Hot 100 between 1960 and 1969.

Following the events of the Detroit Riots of 1967, and the loss of key songwriting/production team Holland–Dozier–Holland that year over pay disputes, Gordy moved Motown to Los Angeles. Motown expanded into film and television production.

It was an independent company until MCA Records bought it in 1988. PolyGram purchased the label from MCA in 1993, followed by MCA successor Universal Music Group, which acquired PolyGram in 1999.[2]

Motown spent much of the 2000s headquartered in New York City as a part of the UMG subsidiaries Universal Motown and Universal Motown Republic Group. From 2011 to 2014, it was a part of The Island Def Jam Music Group division of Universal Music.[5][6][7] In 2014, however, UMG announced the dissolution of Island Def Jam, and Motown relocated back to Los Angeles to operate under the Capitol Music Group, now operating out of the Capitol Tower.[1] In 2018, Motown was inducted into Rhythm and Blues Music Hall of Fame in a ceremony held at the Charles H. Wright Museum.[8]

Narrated History by:

Wa’Dell Jones: Artist/Producer/Singer/Songwriter/Video Director/Editor.

Co. Rock Of Ages Entertainment

BMI Pro. Member: #1179604

Songwriter/Composer: IP# 00560927242

BMI Publisher of Works: IP# 00734411466

PRODUCTS AND SERVICES:

Rock Of Ages Entertainment will provide inspirational music that is geared toward promoting Agape brotherly love and standing up against racial injustice that is prevalent in many parts of the US. and abroad. The Company has produced three CDs one, Urban gospel inspirational, R&B Soul, and Adult Alternative. And for the music lover who prefers Instrumentals we produce cues of, jazz, pop, R&B, hip-pop, and chill hop instrumental cues for your listening pleasure, but these tracks are produced for Licensing and Music Libraries who are looking to place in, media commercials, movie trailers etc. The names of said CDs are; The Gospel Truth, Love Favors & Morning After which are hardcopies CDs for sale on the purchase app. Each CD are only; $8.50. per. You can also purchase the Companies Music Videos which are, Monthly Subscribers; $7.50 per subscriber; Or the out right purchase of, $1.50 per. video of your choice, you will be able to download after transaction. Donations are accepted. The cash purchases will allow (ROAE) to pay for recording studio time, promote concerts, set up pep rallies, and to work for hire payed staff. Thank you for your concern and generosity in our Quest for change!

Sincerely:

Wa’Dell Jones: Artist/Producer/Singer/Songwriter/ Video Director/ Editor

President: (ROAE)

MISSION STATEMENT:


ROCK OF AGES ENTERTAINMENT: mission statement as a independent Freelance writing contractor is to specialize is most common in culture and creative industries, and use of this term may indicate participation therein. Fields; profession, and industries where freelancing is predominate include: music, writing, acting, computer programing, web design, graphic design, translating and illustrating.

Film video production and other forms of piece work which some cultural theorists consider as central to the cognitive-cultural economy.

Sincerely:

Wa’Dell Jones

Artist/ Music Producer/Singer/Songwriter/Freelance Writer.

HOME OFFICE: RECORDING STUDIO

HOME OFFICE AND STUDIO DEDUCTIONS:

Many freelance vocalist and musicians require extensive rehearsals, coaching, and practice to maintain their income-producing skills. They often carry on these activities in their home . The Internal Revenue Services has strict limitations concerning the deduction of operating and depreciation expenses allocable to the portion of a home used for business purposes where the use is on an exclusive and regular basis as a principal place of business, as a place for seeing business clients, or as a separate business structure.

In 1997, Congress reacted to a 1993 Supreme Court ruling that had tightened the meaning of “principle place of business.” The new law relaxed the requirements for a deductible home office as of December 31, 1998, so that it would qualify if used for administrative or management activities of any trade or business if there was no other fixed location to perform such duties. In other respects it continued the two basis tests. (1) the importance of activities performed at each place of business and (2) the time spent at each place. Several steps can be taken to protect the home office deductions.

Perform most work activities at home and document them.

Document all business meetings at home.

Move the home office into a separate structure, such as a garage, and do not mix business and personal matters in the same space.

Prove that the employer requires a home office, for example, by a letter, if the taxpayer is an employee, he or she must also show that the home office is being used for the “convenience” of the taxpayer’s employer.

The home office deduction cannot be more than the total gross income from the business use of the home, after deduction of business expenses other than the home expenses. However, any balance remaining can be carried forward to future years. Only household expenses and repairs that benefit the business space are deductible. The cost of painting another room would, for instance, not be deductible, although part of the cost of painting the outside of the house may be deductible. Lawn care and landscaping cost are not deductible. Small businesses can also deduct up to $25,000 of the cost of new qualifying business equipment such as, computers for website hosting and domains.

Sincerely:

Artist/Producer/Singer/Songwriter/Video Director/Editor.

Wa’Dell Jones.

ROCK OF AGES ENTERTAINMENT

Rock Of Ages Entertainment:

THE MISSION STATEMENT: (ROAE).

As an independent Freelance Writer Contractor to specialize is most common in culture and creative industries, and use of this term may indicate participation therein. Fields; profession, and industries where freelancing is predominate include: music, writing, acting, computer competent, graphic design, translating, and illustration.

Film video production and other forms of piece work which some cultural theorists consider as central to the cognitive–cultural economy.

Freelance Writer, Songwriter, Author, Video Director, and Poet.

Wa’Dell Jones:

Co. Rock Of Ages Entertainment

email: wadellj0725@gmail.com

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