jajajaja!!! ojala y ahora si corran al bastardo inutil de Mottola, le haria un bien a la compañia y al mundo entero corriendo a Mottola y que se quede en la cama y Thalia dandole lechita, porke el cabron ya esta viejo y solo sirve para eso.
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Cambios en el aspecto y funcionamiento del foro. Ver detalles
¿Mottola en la cuerda floja?
- Iniciador del tema Xtarlight
- Fecha de inicio
por fin van a votar al demonio mottola, se lo merece ejej
Albita
0
Pues por mi como si se opera o como si le da un ataque al corazon me da igual lo que le pase a ese mamon de mierda,solo se que ojala nunka se huviera metido en la carrera de Michael.
De todas formas a mi no me importa lo mas minimo que lo echen o qe no, me da igual.... Creo qe Mike tiene suficientes años de experiencia como para saber lo que tiene que hacer en un caso como este, utilizar la astucia, la inteligencia todo lo bueno para salir otra vez a la luz y qe al menos hablen un poko de su musica y no tanto de su vida personal. Tampoko me importa la discografica qe lo lleve, con quien trabaje (siempre y cuando sea bueno)etc....Yo confio en Michael , se que su carrera no akaba aqui, solo tiene qe hacer un esfuerzo y todo saldra por si solo, su talento es interminable pero lo tiene qe expresar con mas ganas y seguramente nos volvera a impreionar como antes lo hacia, solo tiene qe decir "VENGA MICHAEL HAZLES VER QUE NO ESTAS AKABADO,SAKA TODO TU PODERIO Y LO DEMAS VENDRA POR SI SOLO" eso es , lo tiene en sus manos pero creo que lo que le esta pasando ultimamente lo tiene un poko confundido,agoviado o demasiado molesto, creo que esta a punto de reventar, a mi me da esa impresion, en fin es normal si te andan jodiendo con mierdas de juicios y tonterias. Tal y como oi el otro dia "a Michael Jackson solo le faltaba una critica hacerca del trato hacia sus hijos" asaber qe sera lo proximo, ya se han metido con todo o no? ¿alguien me puede decir si falta algo que no hayan criticado de el? no lo creo pero nunka se sabe.......
De todas formas a mi no me importa lo mas minimo que lo echen o qe no, me da igual.... Creo qe Mike tiene suficientes años de experiencia como para saber lo que tiene que hacer en un caso como este, utilizar la astucia, la inteligencia todo lo bueno para salir otra vez a la luz y qe al menos hablen un poko de su musica y no tanto de su vida personal. Tampoko me importa la discografica qe lo lleve, con quien trabaje (siempre y cuando sea bueno)etc....Yo confio en Michael , se que su carrera no akaba aqui, solo tiene qe hacer un esfuerzo y todo saldra por si solo, su talento es interminable pero lo tiene qe expresar con mas ganas y seguramente nos volvera a impreionar como antes lo hacia, solo tiene qe decir "VENGA MICHAEL HAZLES VER QUE NO ESTAS AKABADO,SAKA TODO TU PODERIO Y LO DEMAS VENDRA POR SI SOLO" eso es , lo tiene en sus manos pero creo que lo que le esta pasando ultimamente lo tiene un poko confundido,agoviado o demasiado molesto, creo que esta a punto de reventar, a mi me da esa impresion, en fin es normal si te andan jodiendo con mierdas de juicios y tonterias. Tal y como oi el otro dia "a Michael Jackson solo le faltaba una critica hacerca del trato hacia sus hijos" asaber qe sera lo proximo, ya se han metido con todo o no? ¿alguien me puede decir si falta algo que no hayan criticado de el? no lo creo pero nunka se sabe.......
Alita
2
He encontrado este articulo, está muy interesante, está en inglés, no tengo mucho tiempo ahora para traducirlo, pero espero les guste (thx to Caro from KOP for the news)
www.nytimes.com/2002/12/1...5MOTT.html
A Music Man's New Mantra: Let's Make a Deal
By LAURA M. HOLSON
LOS ANGELES
IF Thomas D. Mottola, the veteran chief executive of Sony Music Entertainment, were a political candidate, you might well think he was campaigning for re-election.
Early last month, the usually press-averse Mr. Mottola announced a marketing deal with Chrysler and the pop diva Celine Dion, who will soon begin peddling minivans. Three weeks later, Mr. Mottola was on the cover of Billboard magazine, pushing a new marketing venture with Pepsi. More recently, he talked up the value of Sony's acquisition of the song catalog of the rock group AC/DC, as well as the marketability of the superstar Jennifer Lopez.
Then, on Monday afternoon, a harried Mr. Mottola took a few moments to detail how those announcements fit into his new plan to overhaul Sony Music, home to a stable of artists that includes Ms. Dion, Ms. Lopez, Bruce Springsteen, Destiny's Child and Shakira. "This is the very beginning of a whole strategy to completely transform the company," Mr. Mottola, 53, said between bites of a Krispy Kreme doughnut and sips of espresso. "We are going to go into the management business."
That brazen pronouncement is sure to elicit ire among some artists and their managers; they already say record executives exert too much control over their careers. But what has many in the music business chattering is whether Mr. Mottola is fashioning a new image not only for Sony Music but also for himself. He became famous fostering global pop stars like Ms. Dion, Mariah Carey (his former wife) and Michael Jackson but has had limited success exploiting the growing urban genre.
Now, with profits dwindling, music companies have little choice but to find new sources of revenue. Sales of compact discs have fallen as much as 10 percent this year as CD-burning and Internet file-sharing proliferate. Blockbuster acts have less staying power. And artists and legislators are pressuring music companies to shore up their accounting practices.
Sony Music, where Mr. Mottola has worked since 1988 and which says it is No. 2 in worldwide album sales this year behind the Universal Music Group, is no different. Operating income fell about 20 percent in 2002, according to the annual report of the parent company, the Sony Corporation. A significant portion of the division's profitability was attributed to the manufacturing of discs for home entertainment and PlayStation consoles, according to the report.
So far in its latest fiscal year, Sony's music businesses have lost $132 million over all because of higher costs related to artists, the company has said.
And despite successful new albums this year from the Dixie Chicks and Ms. Dion, Sony Music's domestic market share for current albums slipped to 15 percent for the year through Dec. 8, from 15.9 percent for the period last year, according to Nielsen SoundScan, which tracks American record sales.
The timing is crucial for Mr. Mottola. This summer, he tried to extend his Sony contract, which ends in 2004, several executives inside and outside the company say.
Mr. Mottola asked for a five-year deal and to be retained as a consultant afterward, an agreement similar to that granted to his friend and business rival Doug Morris, the chief executive at Universal Music, a division of Vivendi Universal. Sony executives balked at the terms, these people said. Sir Howard Stringer, the chief executive of the Sony Corporation of America, did not return telephone calls seeking comment.
"The challenges Tommy faces are the same things all the guys in that business face," said Bryan Lourd, a partner at the Creative Artists Agency and a business associate of Mr. Mottola's. "They have to throw out everything they know, which is scary when you are rich and not 22."
After pondering that for a moment, Mr. Lourd added, "I guess the end of the article is, `Now what?' "
MR. MOTTOLA had little to say about his future. After a 30-minute discussion on Monday, he declined, through a spokesman, to be interviewed further. Mr. Mottola, said Keith Estabrook, a spokesman for Sony Music, was offended by questions about Sony's relationship with other labels, his extensive real estate holdings and a recent passing mention of him on "The Sopranos," the HBO drama.
But Mr. Mottola, a former manager who got his start representing the rock duo Hall and Oates, did offer this during the interview: Record labels, he explained, spend millions developing and marketing artists whose careers peak after only three albums. So Mr. Mottola wants companies like Pepsi, part of PepsiCo, and Chrysler, part of DaimlerChrysler, to help pay to market and promote them. He also wants Sony to have a part of whatever revenue an artist now keeps from touring, selling T-shirts and making movies.
Mr. Mottola, who described his plan as revolutionary, said he had few details about how he expected to make it work or to persuade corporations and artists to go along. But the plan could include customized CD's or tying a release to a product. "We may release the next Shakira album with Sony and Pepsi so we'll have 10,000 times the reach," he said.
Already, there are skeptics. "I don't think those deals are revolutionary, given that marketing is what Sony is supposed to do," said Lee Black, a senior music analyst at Jupiter Research. "Pepsi working with Sony is like McDonald's working with Disney."
Nor is the concept of revenue-sharing unexplored. The EMI Group has already made the first such deal, valued at more than $80 million, with the British pop idol Robbie Williams. It gives EMI a stake in touring, merchandising and publishing profits.
More important, Mr. Mottola will have to persuade artists that a partnership that takes money from their pockets and puts it into Sony's is a smart one. A California state senator, Kevin Murray, held three hearings on recording-industry practices this year and concluded that music companies have a perception problem with their artists. He said, too, that musicians should not have to share revenue just to get fair contracts. "At the very least," his report said, "there is purposeful neglect on the part of the record company accounting departments."
He added: "It is as if one spouse began secretly moving assets in order to benefit him or herself to the detriment of the other spouse. Upon discovery it is bound to generate resentment, anger and possibly revolt."
That is what a lawyer for the Dixie Chicks — whose "Home" is Sony's hottest album in the United States this year, with sales of 2.7 million — said happened last year when the group threatened to leave Sony in an imbroglio over the company's accounting practices. In a settlement in June, the company paid the Dixie Chicks an estimated $2 million and a higher royalty rate, according to two people involved in the negotiations.
"It is an important artist, and that is why they settled," said Donald S. Engel, the lawyer who represented the group, a country trio. "Sony needs them. They couldn't afford to go to trial."
At Sony Music's headquarters on Madison Avenue near 55th Street in Midtown Manhattan, Mr. Mottola takes a service elevator directly from the garage to the 32nd floor, where his lavish office has sweeping views of the city. For certain occasions, Mr. Mottola travels with bodyguards. And Mr. Mottola said on Monday that he does not fly to Sony's Japanese headquarters unless he is asked by the chairman, Nobuyuki Idei; Mr. Mottola instead sends Michele Anthony, who colleagues say is his closest confidante at Sony Music.
In the 14 years that Mr. Mottola has worked at Sony Music, he has assembled a loyal coterie of executives, including Mel Ilberman, a Sony veteran who advises Mr. Mottola on financial matters, and Ms. Anthony, who handles day-to-day operations as executive vice president.
Several nights a month, Mr. Mottola and his top executives — including Ms. Anthony; Don Ienner, the chairman of Columbia Records; and Polly Anthony, the president of Epic Records — can be found dining at Italian favorites like Scalinatella on the Upper East Side or Da Silvano in Greenwich Village.
"It's very much like a family," one top music executive said. "We eat dinner a lot together. We are in constant discussion on the phone."
Chris Schwartz, the chief executive of the TriMedia Entertainment Group, who recently signed a deal in which Sony will distribute soundtracks for his company's movies, recalled being in Mr. Ienner's office one day when Mr. Mottola called three times within 10 minutes.
Executives who know them say Mr. Mottola and his team are unusually close, even for the music business. Outsiders are not always eagerly embraced, sometimes to their dismay. An executive who used to work with Mr. Mottola said: "When you are performing for him he is terrific, open with money. When he doesn't need you, it is a shock."
Even Mr. Schwartz, who used to work at Sony and has friends there, agreed that it can be a tough place. "Sony Music is not a charm school," he said. "There is no time to be an existentialist."
CHARMS aside, what truly matters in the music business is finding new acts. While Sony has had its share of successes — the singer John Mayer, for instance — it has also let others get away.
Alicia Keys, whose five Grammy Awards this year included one for best new artist, was signed to Sony's Columbia Records when she was 15 but never produced an album there. Instead, she moved to a competitor, the J Records unit of Bertelsmann, and recorded the best-selling album "Songs in A Minor." Ashanti, who once was part of Sony's stable too, records for Universal's Island Def Jam and has sold three million copies of her debut album domestically.
When asked how Ms. Keys and Ashanti managed to slip past him, Mr. Mottola said, "For some it works, for others it doesn't."
He was quick to point out that he was one of the first executives to see the potential in Latin music. He helped market and develop blockbuster acts like Ricky Martin, Marc Anthony and, more recently, Shakira. "We've been there with some of the biggest stars who had the ability to break all over the world," he said.
One megastar is Ms. Dion, who has sold more than 100 million records worldwide. Her American debut album, "Falling Into You," in 1996, sold an eye-popping 11 million copies, according to SoundScan, and was followed up the next year with "Let's Talk About Love," which sold 9.2 million. But Ms. Dion, like many of Sony's older artists, does not sell as many albums as she used to. Ms. Dion's latest, "A New Day Has Come," has sold 2.5 million.
Noticeably absent from Mr. Mottola's list were two high-profile superstars with whom he has had very public breakups: Ms. Carey, his ex-wife, who now records for Universal Music, and Michael Jackson, who in July rode around Manhattan in a double-decker bus calling Mr. Mottola a racist and waving a photograph of Mr. Mottola with painted horns. Sony, for its part, has declined to talk about Mr. Jackson.
To be sure, Mr. Mottola's comings and goings, particularly his real estate deals, are chronicled as thoroughly as any of the divas in Sony's stable. When a New York judge recently gave Tyco International permission to sell an Upper East Side apartment used by its former chief financial officer, Mark H. Swartz, to Mr. Mottola for the bargain price of $9.25 million (the asking price was nearly $16 million), it quickly became news on the Upper East Side cocktail party circuit.
Last January, neighbors near his multimillion-dollar Miami house complained that his air-conditioning unit was too cumbersome and noisy. That, too, made the gossip columns, as did the September abduction and later release of Ernestina Sodi and Laura Zapata, the sisters of Mr. Mottola's current wife, the Mexican pop star and actress Thalia.
And of the reference to Mr. Mottola in an episode of "The Sopranos," his friend Brad Grey, an executive producer of the show, said, "There are a lot of pop-culture names in the show, and it kind of fit" in the scene. Besides, he said, Sony distributed the soundtrack — so the reference was an inside joke.
Jon Landau, Mr. Springsteen's manager, who has known Mr. Mottola for two decades, views it this way: "The fact Tommy is a celebrity is a plus for Sony. It attracts talent."
MR. MOTTOLA indeed has the ability to attract and mold future divas, but one area where he has stumbled is urban and rap music. Universal Music Group dominates its competitors in this area and so far this year is responsible for more than 40 percent of all rhythm-and-blues albums sold domestically and half of rap records, according to SoundScan.
But it could have been different at Sony. In the mid-1990's, Sony sold Def Jam, a premier rap and hip-hop label started by Russell Simmons. "They were in transition," Mr. Mottola said. Through mergers, the label morphed into Island Def Jam and is now a hip-hop force at Universal.
Industry executives also say Sony passed up the opportunity to buy Interscope Records, also now part of Universal and home to Eminem.
But Mr. Mottola says Sony is flourishing with artists like Nas, Ms. Lopez and Destiny's Child. When asked about critics who say Sony is lagging, he said, "You are uninformed."
But Sony's domestic share of current rhythm-and-blues albums sold has dropped to 16.3 percent from 18.5 percent at this time last year, according to SoundScan.
Mr. Mottola, indeed, has been trying to shore up the business. Several years ago, he brought in two veteran hip-hop producers, Samuel Barnes, called Tone, and Jean Claude Olivier, called Poke, to work with artists like Ms. Lopez and Destiny's Child. But Mr. Mottola said their stay was brief because they did not fit into Sony's culture. "They are two of the most talented guys in the business, but a corporate position was not good for them," he said. "It was like putting a square peg in a round hole."
Mr. Mottola has also been in negotiations with Steven Stoute, a respected producer and manager who has worked with Mary J. Blige and Nas, about joining Sony. Mr. Stoute said he had been talking to Mr. Mottola for four months regarding a deal valued "north of $10 million," but a pact has yet to be reached.
"In the culture of the company, they get black music," Mr. Stoute said of Sony. "But on execution they need improvement."
www.nytimes.com/2002/12/1...5MOTT.html
A Music Man's New Mantra: Let's Make a Deal
By LAURA M. HOLSON
LOS ANGELES
IF Thomas D. Mottola, the veteran chief executive of Sony Music Entertainment, were a political candidate, you might well think he was campaigning for re-election.
Early last month, the usually press-averse Mr. Mottola announced a marketing deal with Chrysler and the pop diva Celine Dion, who will soon begin peddling minivans. Three weeks later, Mr. Mottola was on the cover of Billboard magazine, pushing a new marketing venture with Pepsi. More recently, he talked up the value of Sony's acquisition of the song catalog of the rock group AC/DC, as well as the marketability of the superstar Jennifer Lopez.
Then, on Monday afternoon, a harried Mr. Mottola took a few moments to detail how those announcements fit into his new plan to overhaul Sony Music, home to a stable of artists that includes Ms. Dion, Ms. Lopez, Bruce Springsteen, Destiny's Child and Shakira. "This is the very beginning of a whole strategy to completely transform the company," Mr. Mottola, 53, said between bites of a Krispy Kreme doughnut and sips of espresso. "We are going to go into the management business."
That brazen pronouncement is sure to elicit ire among some artists and their managers; they already say record executives exert too much control over their careers. But what has many in the music business chattering is whether Mr. Mottola is fashioning a new image not only for Sony Music but also for himself. He became famous fostering global pop stars like Ms. Dion, Mariah Carey (his former wife) and Michael Jackson but has had limited success exploiting the growing urban genre.
Now, with profits dwindling, music companies have little choice but to find new sources of revenue. Sales of compact discs have fallen as much as 10 percent this year as CD-burning and Internet file-sharing proliferate. Blockbuster acts have less staying power. And artists and legislators are pressuring music companies to shore up their accounting practices.
Sony Music, where Mr. Mottola has worked since 1988 and which says it is No. 2 in worldwide album sales this year behind the Universal Music Group, is no different. Operating income fell about 20 percent in 2002, according to the annual report of the parent company, the Sony Corporation. A significant portion of the division's profitability was attributed to the manufacturing of discs for home entertainment and PlayStation consoles, according to the report.
So far in its latest fiscal year, Sony's music businesses have lost $132 million over all because of higher costs related to artists, the company has said.
And despite successful new albums this year from the Dixie Chicks and Ms. Dion, Sony Music's domestic market share for current albums slipped to 15 percent for the year through Dec. 8, from 15.9 percent for the period last year, according to Nielsen SoundScan, which tracks American record sales.
The timing is crucial for Mr. Mottola. This summer, he tried to extend his Sony contract, which ends in 2004, several executives inside and outside the company say.
Mr. Mottola asked for a five-year deal and to be retained as a consultant afterward, an agreement similar to that granted to his friend and business rival Doug Morris, the chief executive at Universal Music, a division of Vivendi Universal. Sony executives balked at the terms, these people said. Sir Howard Stringer, the chief executive of the Sony Corporation of America, did not return telephone calls seeking comment.
"The challenges Tommy faces are the same things all the guys in that business face," said Bryan Lourd, a partner at the Creative Artists Agency and a business associate of Mr. Mottola's. "They have to throw out everything they know, which is scary when you are rich and not 22."
After pondering that for a moment, Mr. Lourd added, "I guess the end of the article is, `Now what?' "
MR. MOTTOLA had little to say about his future. After a 30-minute discussion on Monday, he declined, through a spokesman, to be interviewed further. Mr. Mottola, said Keith Estabrook, a spokesman for Sony Music, was offended by questions about Sony's relationship with other labels, his extensive real estate holdings and a recent passing mention of him on "The Sopranos," the HBO drama.
But Mr. Mottola, a former manager who got his start representing the rock duo Hall and Oates, did offer this during the interview: Record labels, he explained, spend millions developing and marketing artists whose careers peak after only three albums. So Mr. Mottola wants companies like Pepsi, part of PepsiCo, and Chrysler, part of DaimlerChrysler, to help pay to market and promote them. He also wants Sony to have a part of whatever revenue an artist now keeps from touring, selling T-shirts and making movies.
Mr. Mottola, who described his plan as revolutionary, said he had few details about how he expected to make it work or to persuade corporations and artists to go along. But the plan could include customized CD's or tying a release to a product. "We may release the next Shakira album with Sony and Pepsi so we'll have 10,000 times the reach," he said.
Already, there are skeptics. "I don't think those deals are revolutionary, given that marketing is what Sony is supposed to do," said Lee Black, a senior music analyst at Jupiter Research. "Pepsi working with Sony is like McDonald's working with Disney."
Nor is the concept of revenue-sharing unexplored. The EMI Group has already made the first such deal, valued at more than $80 million, with the British pop idol Robbie Williams. It gives EMI a stake in touring, merchandising and publishing profits.
More important, Mr. Mottola will have to persuade artists that a partnership that takes money from their pockets and puts it into Sony's is a smart one. A California state senator, Kevin Murray, held three hearings on recording-industry practices this year and concluded that music companies have a perception problem with their artists. He said, too, that musicians should not have to share revenue just to get fair contracts. "At the very least," his report said, "there is purposeful neglect on the part of the record company accounting departments."
He added: "It is as if one spouse began secretly moving assets in order to benefit him or herself to the detriment of the other spouse. Upon discovery it is bound to generate resentment, anger and possibly revolt."
That is what a lawyer for the Dixie Chicks — whose "Home" is Sony's hottest album in the United States this year, with sales of 2.7 million — said happened last year when the group threatened to leave Sony in an imbroglio over the company's accounting practices. In a settlement in June, the company paid the Dixie Chicks an estimated $2 million and a higher royalty rate, according to two people involved in the negotiations.
"It is an important artist, and that is why they settled," said Donald S. Engel, the lawyer who represented the group, a country trio. "Sony needs them. They couldn't afford to go to trial."
At Sony Music's headquarters on Madison Avenue near 55th Street in Midtown Manhattan, Mr. Mottola takes a service elevator directly from the garage to the 32nd floor, where his lavish office has sweeping views of the city. For certain occasions, Mr. Mottola travels with bodyguards. And Mr. Mottola said on Monday that he does not fly to Sony's Japanese headquarters unless he is asked by the chairman, Nobuyuki Idei; Mr. Mottola instead sends Michele Anthony, who colleagues say is his closest confidante at Sony Music.
In the 14 years that Mr. Mottola has worked at Sony Music, he has assembled a loyal coterie of executives, including Mel Ilberman, a Sony veteran who advises Mr. Mottola on financial matters, and Ms. Anthony, who handles day-to-day operations as executive vice president.
Several nights a month, Mr. Mottola and his top executives — including Ms. Anthony; Don Ienner, the chairman of Columbia Records; and Polly Anthony, the president of Epic Records — can be found dining at Italian favorites like Scalinatella on the Upper East Side or Da Silvano in Greenwich Village.
"It's very much like a family," one top music executive said. "We eat dinner a lot together. We are in constant discussion on the phone."
Chris Schwartz, the chief executive of the TriMedia Entertainment Group, who recently signed a deal in which Sony will distribute soundtracks for his company's movies, recalled being in Mr. Ienner's office one day when Mr. Mottola called three times within 10 minutes.
Executives who know them say Mr. Mottola and his team are unusually close, even for the music business. Outsiders are not always eagerly embraced, sometimes to their dismay. An executive who used to work with Mr. Mottola said: "When you are performing for him he is terrific, open with money. When he doesn't need you, it is a shock."
Even Mr. Schwartz, who used to work at Sony and has friends there, agreed that it can be a tough place. "Sony Music is not a charm school," he said. "There is no time to be an existentialist."
CHARMS aside, what truly matters in the music business is finding new acts. While Sony has had its share of successes — the singer John Mayer, for instance — it has also let others get away.
Alicia Keys, whose five Grammy Awards this year included one for best new artist, was signed to Sony's Columbia Records when she was 15 but never produced an album there. Instead, she moved to a competitor, the J Records unit of Bertelsmann, and recorded the best-selling album "Songs in A Minor." Ashanti, who once was part of Sony's stable too, records for Universal's Island Def Jam and has sold three million copies of her debut album domestically.
When asked how Ms. Keys and Ashanti managed to slip past him, Mr. Mottola said, "For some it works, for others it doesn't."
He was quick to point out that he was one of the first executives to see the potential in Latin music. He helped market and develop blockbuster acts like Ricky Martin, Marc Anthony and, more recently, Shakira. "We've been there with some of the biggest stars who had the ability to break all over the world," he said.
One megastar is Ms. Dion, who has sold more than 100 million records worldwide. Her American debut album, "Falling Into You," in 1996, sold an eye-popping 11 million copies, according to SoundScan, and was followed up the next year with "Let's Talk About Love," which sold 9.2 million. But Ms. Dion, like many of Sony's older artists, does not sell as many albums as she used to. Ms. Dion's latest, "A New Day Has Come," has sold 2.5 million.
Noticeably absent from Mr. Mottola's list were two high-profile superstars with whom he has had very public breakups: Ms. Carey, his ex-wife, who now records for Universal Music, and Michael Jackson, who in July rode around Manhattan in a double-decker bus calling Mr. Mottola a racist and waving a photograph of Mr. Mottola with painted horns. Sony, for its part, has declined to talk about Mr. Jackson.
To be sure, Mr. Mottola's comings and goings, particularly his real estate deals, are chronicled as thoroughly as any of the divas in Sony's stable. When a New York judge recently gave Tyco International permission to sell an Upper East Side apartment used by its former chief financial officer, Mark H. Swartz, to Mr. Mottola for the bargain price of $9.25 million (the asking price was nearly $16 million), it quickly became news on the Upper East Side cocktail party circuit.
Last January, neighbors near his multimillion-dollar Miami house complained that his air-conditioning unit was too cumbersome and noisy. That, too, made the gossip columns, as did the September abduction and later release of Ernestina Sodi and Laura Zapata, the sisters of Mr. Mottola's current wife, the Mexican pop star and actress Thalia.
And of the reference to Mr. Mottola in an episode of "The Sopranos," his friend Brad Grey, an executive producer of the show, said, "There are a lot of pop-culture names in the show, and it kind of fit" in the scene. Besides, he said, Sony distributed the soundtrack — so the reference was an inside joke.
Jon Landau, Mr. Springsteen's manager, who has known Mr. Mottola for two decades, views it this way: "The fact Tommy is a celebrity is a plus for Sony. It attracts talent."
MR. MOTTOLA indeed has the ability to attract and mold future divas, but one area where he has stumbled is urban and rap music. Universal Music Group dominates its competitors in this area and so far this year is responsible for more than 40 percent of all rhythm-and-blues albums sold domestically and half of rap records, according to SoundScan.
But it could have been different at Sony. In the mid-1990's, Sony sold Def Jam, a premier rap and hip-hop label started by Russell Simmons. "They were in transition," Mr. Mottola said. Through mergers, the label morphed into Island Def Jam and is now a hip-hop force at Universal.
Industry executives also say Sony passed up the opportunity to buy Interscope Records, also now part of Universal and home to Eminem.
But Mr. Mottola says Sony is flourishing with artists like Nas, Ms. Lopez and Destiny's Child. When asked about critics who say Sony is lagging, he said, "You are uninformed."
But Sony's domestic share of current rhythm-and-blues albums sold has dropped to 16.3 percent from 18.5 percent at this time last year, according to SoundScan.
Mr. Mottola, indeed, has been trying to shore up the business. Several years ago, he brought in two veteran hip-hop producers, Samuel Barnes, called Tone, and Jean Claude Olivier, called Poke, to work with artists like Ms. Lopez and Destiny's Child. But Mr. Mottola said their stay was brief because they did not fit into Sony's culture. "They are two of the most talented guys in the business, but a corporate position was not good for them," he said. "It was like putting a square peg in a round hole."
Mr. Mottola has also been in negotiations with Steven Stoute, a respected producer and manager who has worked with Mary J. Blige and Nas, about joining Sony. Mr. Stoute said he had been talking to Mr. Mottola for four months regarding a deal valued "north of $10 million," but a pact has yet to be reached.
"In the culture of the company, they get black music," Mr. Stoute said of Sony. "But on execution they need improvement."
Tiempos de York nueva en Sony y Mottola
Fecha el 16 de diciembre de 2002
Artículo Pues MJNI divulgó exclusivamente la semana pasada, los tiempos de York nueva publicaron de hecho una historia este fin de semana que proporcionó una ojeada rara en el mundo de presidente y del antagonista Thomas Mottola de la música de Sony de Michael Jackson.
Mientras que no había revelaciones impactantes que se harán sobre el rey del estallido - según el artículo: "Sony, para su parte, ha declinado hablar de Sr. Jackson" - una vez que el presidente poderoso de Sony haya tenido su parte de decepciones este año.
Entre las revelaciones hechas en el artículo...
- la renta de funcionamiento (para la música de Sony) bajó cerca de 20 por ciento en 2002, según el informe anual de la casa matriz, la Sony Corporation.
- hasta ahora en su ejercicio económico más último, negocios de la música de Sony han perdido $132 millones el excedente todos debido a costes más altos relacionados con los artistas.
- la parte doméstica de Sony de los álbumes actuales de los ritmo-y-azul vendidos ha caído a 16,3 por ciento a partir de 18,5 por ciento en este tiempo el año pasado, según SoundScan.
- los ejecutivos de la industria también dicen Sony pasada encima de la oportunidad de comprar recordes del intercampo, también ahora parte de universal y de hogar a Eminem.
- y a pesar de álbumes nuevos acertados este año de los polluelos y del ms Dion, parte de Dixie del mercado interior de la música de Sony para los álbumes actuales se deslizó a 15 por ciento por el año al de diciembre 8, a partir de 15,9 por ciento para el período el año pasado, según Nielsen SoundScan, que sigue ventas de registro del americano.
- perceptiblemente ausentes de lista de Sr. Mottola estaban dos superstars del alto-perfil con los cuales él ha tenido desintegraciones muy públicas: Ms Carey, su ex-esposa, que ahora registra para la música universal, y Michael Jackson.
- la sincronización es crucial para Sr. Mottola. Este verano, él intentó extender su Sony contrae, que termina en 2004, varios ejecutivos dentro de y fuera de la compañía diga.
- Sr. Mottola pidió un reparto de cinco años y ser conservado como consultor luego, un acuerdo similar a eso concedió a su amigo y rival de negocio Doug Morris, el ejecutivo en la música universal, una división del universal de Vivendi. Los ejecutivos de Sony frustraron en los términos, esta gente dicha. Sir Howard Stringer, el ejecutivo de la Sony Corporation de América, no volvió llamadas telefónicas buscando el comentario.
Para visión el artículo completo de los tiempos de York nueva, chasque aquí .
Fecha el 16 de diciembre de 2002
Artículo Pues MJNI divulgó exclusivamente la semana pasada, los tiempos de York nueva publicaron de hecho una historia este fin de semana que proporcionó una ojeada rara en el mundo de presidente y del antagonista Thomas Mottola de la música de Sony de Michael Jackson.
Mientras que no había revelaciones impactantes que se harán sobre el rey del estallido - según el artículo: "Sony, para su parte, ha declinado hablar de Sr. Jackson" - una vez que el presidente poderoso de Sony haya tenido su parte de decepciones este año.
Entre las revelaciones hechas en el artículo...
- la renta de funcionamiento (para la música de Sony) bajó cerca de 20 por ciento en 2002, según el informe anual de la casa matriz, la Sony Corporation.
- hasta ahora en su ejercicio económico más último, negocios de la música de Sony han perdido $132 millones el excedente todos debido a costes más altos relacionados con los artistas.
- la parte doméstica de Sony de los álbumes actuales de los ritmo-y-azul vendidos ha caído a 16,3 por ciento a partir de 18,5 por ciento en este tiempo el año pasado, según SoundScan.
- los ejecutivos de la industria también dicen Sony pasada encima de la oportunidad de comprar recordes del intercampo, también ahora parte de universal y de hogar a Eminem.
- y a pesar de álbumes nuevos acertados este año de los polluelos y del ms Dion, parte de Dixie del mercado interior de la música de Sony para los álbumes actuales se deslizó a 15 por ciento por el año al de diciembre 8, a partir de 15,9 por ciento para el período el año pasado, según Nielsen SoundScan, que sigue ventas de registro del americano.
- perceptiblemente ausentes de lista de Sr. Mottola estaban dos superstars del alto-perfil con los cuales él ha tenido desintegraciones muy públicas: Ms Carey, su ex-esposa, que ahora registra para la música universal, y Michael Jackson.
- la sincronización es crucial para Sr. Mottola. Este verano, él intentó extender su Sony contrae, que termina en 2004, varios ejecutivos dentro de y fuera de la compañía diga.
- Sr. Mottola pidió un reparto de cinco años y ser conservado como consultor luego, un acuerdo similar a eso concedió a su amigo y rival de negocio Doug Morris, el ejecutivo en la música universal, una división del universal de Vivendi. Los ejecutivos de Sony frustraron en los términos, esta gente dicha. Sir Howard Stringer, el ejecutivo de la Sony Corporation de América, no volvió llamadas telefónicas buscando el comentario.
Para visión el artículo completo de los tiempos de York nueva, chasque aquí .
mjfreak
2
Claro, en EU corren ya las noticias de que TM no ha estado presentandose en la presidencia de $ONY, y pues bueno tomemoslo como que ya MJ movio sus influencias por eso es que se larga.
Y hablando de los que se hacen fans, un amigo mio Christian, él tenia las ideas que los tabloides sacan a la gente, y despues de contarle lo que en realidad era MJ, se volvio fan y ya esta a punto de tener la coleccion de album's.
Y hablando de los que se hacen fans, un amigo mio Christian, él tenia las ideas que los tabloides sacan a la gente, y despues de contarle lo que en realidad era MJ, se volvio fan y ya esta a punto de tener la coleccion de album's.
