• Thursday, Aug. 17, 2017
Pereira scores News & Doc. Emmy nom for "Sonic Sea"
"Sonic Sea"
LOS ANGELES -- 

Brazilian guitar legend and Grammy winning musician/composer/songwriter Heitor Pereira received his first nomination from the News and Documentary Emmys in the Music & Sound category for his score to Sonic Sea, a moving documentary that examines noise pollution in the ocean and how it affects sea life.  The Grammy-winning Brazilian-born guitarist (Simply Red) turned Hollywood film composer (all the Despicable Me films, The Smurfs, the upcoming Pitch Perfect 3) created a deeply poignant, heartfelt and imaginative score for Sonic Sea.

Organic, electronic, and musical sounds were incorporated into the documentary score.  The sound of the shipyard, the engines themselves created or joined the rhythm section. Long drone sounds were used as if being played by members of the orchestra. The score needed to reflect the diverse aspects of the film. The percussion evolved by incorporating the shipyard sounds and sonar. Horn sounds were manipulated to be used as chords in the score. These elements were used to reflect an aggressive musical element.  These elements reflected negative aspects and the conflict affecting the whales brought on by man.

Conversely, for beautiful moments such as the whales migrating from Alaska to Mexico, clarinets were played in a pitch along with the feedback of guitars to mimic the sounds of the whales.  Accitionally, the sounds of whales and other creatures harmoniously living together along with a full orchestra deliver an epic dynamic to reflect the greatness and expansiveness of the underwater world of these creatures; this was to immerse the viewer both visually and aurally.

On another musical note, near the end of the documentary, a  fisherman who came from generations of fishermen and was passing his profession to his children, saw his way of life disappearing because the underwater exploration was driving away his source of living.  The music needed to reflect that, so a lullaby was created.  The lullaby is as if the fisherman is singing to his grandchildren; the ocean will be okay. It’s a lullaby to show the problems but also the solutions. Sonic Sea addresses this issue with so much information critical to the ocean’s survival, the audience needed a lullaby—a melody of hope.

  • Thursday, Aug. 17, 2017
Time to "Get Shorty" for Antonio Sanchez
Antonio Sanchez
LOS ANGELES -- 

Musician and composer Antonio Sanchez is scoring premium cable network EPIX’s original series Get Shorty produced by MGM Television. This marks Sanchez’s first TV project.

The show is created by Davey Holmes (Shameless) who is also executive producing the MGM Television production with Adam Arkin (The Americans) and Allen Coulter (The Sopranos) who also directed the first episode.  The 10-episode, one hour dark comedy stars BAFTA Award nominee Chris O’Dowd (Girls, St. Vincent) and multi-Emmy winner Ray Romano (Everybody Loves Raymond).

Get Shorty, which premiered on Aug. 11, follows a hitman from Nevada who tries to become a movie producer in Hollywood as a means to leave his criminal past behind. For the score, Sanchez is incorporating his signature percussive sound, but also the classically trained composer will incorporate an orchestral sound when applicable. Sanchez is best known in the film world for his score for Alejandro Inarritu’s Birdman.

  • Thursday, Aug. 17, 2017
New Serpent surfaces on musical horizon
Jon Spencer
SAN DIEGO, Calif. -- 

Jon Spencer is joining bicoastal music house Singing Serpent as executive producer. He comes over from Black Iris Music where he oversaw operations for work out of accounts the likes of Xbox, Stella Artois, Toyota and GEICO.

Singing Serpent maintains shops in San Diego, Calif., and New York’s SOHO district. The company’s credits include such brands as Nike, Nintendo, Vans, BMW, Gentleman Jack, Subaru, Visa, Dunkin Donuts, Kraft, Target, Harley Davidson and Southwest Airlines.

  • Tuesday, Aug. 15, 2017
MTV, record label debate "Despacito" video
This April 27, 2017, file photo shows singers Luis Fonsi, left, and Daddy Yankee during the Latin Billboard Awards in Coral Gables, Fla. (AP Photo/Lynne Sladky, File)
NEW YORK (AP) -- 

MTV says the uber-popular video for "Despacito" didn't earn a nomination at its Video Music Awards because it wasn't submitted for consideration, but Universal Music Latin Entertainment says MTV didn't ask the label to submit the video until last week — two weeks after the network announced its VMA nominees.

"Despacito" has not aired on MTV or MTV2, but it is being played on MTV Tres, the company's Latin channel. As for the VMAs, MTV said "the 'Despacito' video was not submitted for consideration" in a statement to The Associated Press on Monday.

"Until last week, MTV hadn't solicited UMLE to submit the video for consideration," a spokesperson for the record label said in a statement to the AP after it published a story on the reason for "Despacito's" exclusion from the awards show.

It is unclear why the network solicited the label for a submission after the nominations had already been announced. MTV did not immediately respond to a message seeking comment Monday afternoon.

MTV announced its VMA nominees on July 25. The network said Monday that "Despacito" — the song not the video — will be acknowledged at the VMAs as a nominee in its song of summer category. That category and its nominees will be officially announced the week of Aug. 21.

The label said it hopes MTV will air the video at some point.

"UMLE is surprised and happy to learn that MTV plans to recognize 'Despacito' in the VMA's 'Song of Summer' category," the label said. "We hope the nomination will lead to MTV airing the full video on their main channels."

MTV did not explain why it has not played "Despacito" on its main channel when asked by the AP. Luis Fonsi and Daddy Yankee's hit song has become YouTube's most viewed clip of all-time, surpassing 3 billion views.

"We're proud to work with MTV to expose new audiences to our artists' music and we would welcome MTV's decision to recognize Spanish-language videos on its main channel and the Music Video Awards program," the label said.

The VMAs will air live on Aug. 27.

MTV, which mainly airs reality shows like "Teen Mom" and "Catfish" throughout the day, rarely plays music videos on its main channel. MTV2, MTV Classic and other spin-offs air videos regularly.

"Despacito" is the rare Spanish track that has become a massive success in the U.S. and around the world. The hit song, which recently became the first video to hit 3 billion views on YouTube, has become the most streamed track of all-time and is spending its 14th week at No.1 on the Billboard Hot 100 chart.

It is the first mostly Spanish song to top the Hot 100 since Los del Rio's "Macarena" in 1996 and has sold more than 7.7 million tracks based on digital sales, audio streaming and video streaming.

The song, released in January, got a boost when Justin Bieber appeared on its remix, helping it soar from the Top 40 to the Top 10, and later No.1. The remix version does not have an official video.

"Despacito" missed out on VMA nominations such as video of the year, best collaboration, best editing and other more. In an interview with the AP, Fonsi said he didn't notice the video wasn't nominated for the VMAs and he's happy with the song's massive success.

"Awards are very important but what bigger award (is there) than having the most watched video in the world in history? It doesn't really get any bigger than that," Fonsi said, referring to the song's YouTube record. "Hopefully it'll win some awards down the line, down the road, but I think I got the biggest one so far, straight from the people."

Nominees for the top VMA prize, video of the year, include Kendrick Lamar's "Humble," Bruno Mars' "24K Magic," the Weeknd's "Reminder," Alessia Cara's "Scars to Your Beautiful," and DJ Khaled and Rihanna's "Wild Thoughts," which was released in June, a month before MTV announced its nominees.

The 2017 VMAs will air live from the Forum in Inglewood, California. Lamar is the top nominee with eight, while the Weeknd and Katy Perry — who is hosting the show — each earned five nominations.

  • Monday, Aug. 14, 2017
Music service Pandora names Dish streaming exec Lynch as CEO
This photo provided by Pandora shows Roger Lynch. Music service Pandora has named Lynch, the head of Dish’s streaming video service, as its CEO as it tackles competition from Spotify and other newer music apps. He’ll take over Sept. 18. (Pandora via AP)
NEW YORK (AP) -- 

Music service Pandora named a new CEO on Monday as it wrestles with competition from Spotify and other newer streaming apps.

Roger Lynch, the head of Dish's streaming video service, will take over the helm of the Oakland, California, company Sept. 18.

Pandora said Lynch is the right leader because he has worked with media companies on new distribution models. He is the founding CEO of Dish's Sling TV, which was launched in 2015 as one of the first apps to bundle live TV for the internet.

Pandora Media Inc. was founded 17 years ago and has primarily been a free internet radio service making money from ads. But its user base has stagnated and its financial losses deepened as new competitors have gained steam.

It has launched new subscription products over the past year, including one that copies Spotify, Apple Music and other apps by letting users pick the songs they want to listen to.

Pandora co-founder Tim Westergren left the company in late June after a 15-month stint as CEO. He departed a few weeks after satellite radio company Sirius XM bought a 19 percent stake in a strategic investment, gaining three board seats.

Pandora also said Monday that it is adding to its board Michael Lynton, the chairman of Snapchat's owner Snap Inc. and former head of film studio Sony Pictures.

Pandora's shares added 35 cents, or 4.3 percent, to $8.42 in after-hours trading. The stock had dropped 38 percent this year through the close of Monday's regular session.

  • Tuesday, Aug. 8, 2017
Glen Campbell, superstar entertainer of 1960s and '70s, dies at 81
In this July 27, 2011 photo, musician Glen Campbell poses for a portrait in Malibu, Calif. (AP Photo/Matt Sayles, File)
NASHVILLE, Tenn (AP) -- 

Glen Campbell, the affable superstar singer of "Rhinestone Cowboy" and "Wichita Lineman" whose appeal spanned country, pop, television and movies, died Tuesday, his family said. He was 81.

Campbell's family said the singer died Tuesday morning in Nashville and publicist Sandy Brokaw confirmed the news. No cause was immediately given. Campbell announced in June 2011 that he had been diagnosed with Alzheimer's disease and that it was in its early stages at that time.

"Glen is one of the greatest voices there ever was in the business and he was one of the greatest musicians," said Dolly Parton in a video statement. "He was a wonderful session musician as well. A lot of people don't realize that. But he could play anything and he could play it really well."

Tributes poured in on social media. "Thank you Glen Campbell for sharing your talent with us for so many years May you rest in peace my friend You will never be forgotten," wrote Charlie Daniels. One of Campbell's daughters, Ashley, said she was heartbroken. "I owe him everything I am, and everything I ever will be. He will be remembered so well and with so much love," she wrote on Twitter.

"You were a shining light in so many ways," Brad Paisley tweeted.

In the late 1960s and well into the '70s, the Arkansas native was seemingly everywhere with his boyish face, wavy hair and friendly tenor. He won five Grammys, sold more than 45 million records, had 12 gold albums and 75 chart hits, including No. 1 songs with "Rhinestone Cowboy" and "Southern Nights."

His performance of the title song from the 1969 film "True Grit," in which he played a Texas Ranger alongside Oscar winner John Wayne, received an Academy Award nomination. He twice won album of the year awards from the Academy of Country Music and was voted into the Country Music Hall of Fame in 2005. Seven years later, he received a Grammy for lifetime achievement.

His last record was "Adios," released in June, featured songs that Campbell loved to sing but never recorded, including tunes made famous by Bob Dylan, Linda Ronstadt and Johnny Cash. Ashley Campbell, also a musician, made a quest appearance and said making the album was "therapeutic."

Campbell was among a wave of country crossover stars that included Johnny Cash, Roy Clark and Kenny Rogers, and like many of his contemporaries, he enjoyed success on television. Campbell had a weekly audience of some 50 million people for the "Glen Campbell Goodtime Hour," on CBS from 1969 to 1972. He gained new fans decades later when the show, featuring his cheerful greeting "Hi I'm Glen Campbell," was rerun on cable channel CMT.

"I did what my Dad told me to do — 'Be nice, son, and don't cuss. And be nice to people.' And that's the way I handled myself, and people were very, very nice to me," Campbell told The Telegraph in 2011.

He released more than 70 of his own albums, and in the 1990s recorded a series of gospel CDs. A 2011 farewell album, "Ghost On the Canvas," included contributions from Jacob Dylan, Rick Nielsen of Cheap Trick and Billy Corgan of Smashing Pumpkins.

The documentary "Glen Campbell ... I'll Be Me" came out in 2014. The film about Campbell's 2011-12 farewell tour offers a poignant look at his decline from Alzheimer's while showcasing his virtuoso guitar chops that somehow continued to shine as his mind unraveled. The song "I'm

Not Gonna Miss You" won a Grammy for best country song in 2015 and was nominated for an Oscar for best original song.

Campbell's musical career dated back to the early years of rock 'n roll. He toured with the Champs of "Tequila" fame when the group included two singers who formed the popular '70s duo Seals & Crofts. He was part of the house band for the ABC TV show "Shindig!" and a member of

Phil Spector's "Wrecking Crew" studio band that played on hits by the Ronettes, the Righteous Brothers and the Crystals. He played guitar on Frank Sinatra's "Strangers In the Night," the Monkees' "I'm a Believer" and Elvis Presley's "Viva Las Vegas."

"We'd get the rock 'n' roll guys and play all that, then we'd get Sinatra and Dean Martin," Campbell told The Associated Press in 2011. "That was a kick. I really enjoyed that. I didn't want to go nowhere. I was making more money than I ever made just doing studio work."

A sharecropper's son who was one of 12 children, he was born outside of Delight, Arkansas, and grew up revering country music stars such as Hank Williams.

"I'm not a country singer per se," Campbell once said. "I'm a country boy who sings."

He was just 4 when he learned to play guitar. As a teenager, anxious to escape a life of farm work and unpaid bills, he moved to Albuquerque, New Mexico to join his uncle's band and appear on his uncle's radio show. By his early 20s, he had formed his own group, the Western Wranglers, and moved to Los Angeles. He opened for the Doors and sang and played bass with the Beach Boys as a replacement for Brian Wilson, who in the mid-'60s had retired from touring to concentrate on studio work. In 1966, Campbell played on the Beach Boys' classic "Pet Sounds" album.

"I didn't go to Nashville because Nashville at that time seemed one-dimensional to me," Campbell told the AP. "I'm a jazzer. I just love to get the guitar and play the hell out of it if I can."

By the late '60s, he was a performer on his own, an appearance on Joey Bishop's show leading to his TV breakthrough. Tommy Smothers of the Smothers Brothers saw the program and asked Campbell if he'd like to host a summertime series, "The Summer Brothers Smothers Show."

Campbell shied from the Smothers Brothers' political humor, but still accepted the offer. He was out of the country when the first episode aired.

"The whole lid just blew off," Campbell told the AP. "I had never had anything like that happen to me. I got more phone calls. It was awesome. For the first couple of days I was like how do they know me? I didn't realize the power of television."

His guests included country acts, but also the Monkees, Lucille Ball, Cream, Neil Diamond and Ella Fitzgerald.

He was married four times and had eight children. As he would confide in painful detail, Campbell suffered for his fame and made others suffer as well. He drank heavily, used drugs and indulged in a turbulent relationship with country singer Tanya Tucker in the early 1980s.

He is survived by his wife, Kim; their three children, Cal, Shannon and Ashley; and his children from previous marriages, Debby, Kelli, Travis, Kane and Dillon. He had 10 grandchildren.

In late 2003, he was arrested near his home in Phoenix after causing a minor traffic accident. He later pleaded guilty to "extreme" DUI and leaving the scene of an accident and served a 10-day sentence.

Among Campbell's own hits, "Rhinestone Cowboy" stood out and became his personal anthem. Written and recorded by Larry Weiss in 1974, "Rhinestone Cowboy" received little attention until Campbell heard it on the radio and quickly related to the story of a veteran performer who triumphs over despair and hardship. Campbell's version was a chart topper in 1975.

"I thought it was my autobiography set to song," he wrote 20 years later, in his autobiography, titled "Rhinestone Cowboy."

 

  • Wednesday, Aug. 2, 2017
Killer Tracks links with Mike Peters to benefit Love, Hope, Strength Foundation
Mike Peters
SANTA MONICA, Calif. -- 

Killer Tracks has announced that I Can, We Can and Love +, will be released this month via the Killer Tracks Artists Series. A percentage of the revenue from the licensing of the songs will go to Mike Peters’ Love, Hope, Strength Foundation which “leverages the power of music to expand the bone marrow registry.” Two more songs will be released later this year.

The songs were written and sung by Mike Peters, whose band The Alarm produced more than 5 million records worldwide and 16 Top 50 UK singles. Peters is himself a cancer survivor and the subject of a new documentary, The Man in the Camo Jacket, directed by Russ Kendall and produced by Jonathan McHugh, Jonathan Platt, James Chippendale, Alex Colletti and Stash Slionski. The film chronicles Peters’ 8-year battle with non-Hodgkin’s lymphoma. A special screening of the film will be held on August 3rd at the Grammy Museum in Los Angeles, followed by a short musical performance and Q&A.

Peters and The Alarm are currently headlining this year’s Warped Tour, which includes a stop in Pomona, California on August 6. Love Hope Strength, named after The Alarm’s 1985 anthem Strength, will have representatives at each Warped Tour date conducting swab drives and donor matches. To date, Love Hope Strength has added over 150,000 individuals to the bone marrow registry, and has created over 3,100 potential life-saving matches for patients around the world.

I Can, We Can and Love +, are vintage Mike Peters: idealistic, impassioned, soaring. “They are very inspiring and motivating songs, and fantastic additions to our Artist Series,” says Killer Tracks VP of Production Carl Peel. “We are very excited to collaborate with Mike and support the work of his wonderful foundation.”

Killer Tracks continues to support great causes and great artists,” added McHugh. “Partnering with Mike Peters and Love Hope Strength in helping to promote his film and music has been a blessing.”

Film and television licensing of I Can, We Can and Love + are available exclusively through Killer Tracks

  • Tuesday, Aug. 1, 2017
Anna Behlmer to receive CAS Career Achievement Award
Anna Behlmer (photo by Natasha Lee)
LOS ANGELES -- 

The Cinema Audio Society will honor multiple CAS and Oscar®-nominated re-recording mixer Anna Behlmer with the organization’s highest accolade, the CAS Career Achievement Award, to be presented at the 54th CAS Awards on Saturday, February 24, 2018, at the Omni Los Angeles Hotel at California Plaza–Bunker Hill Ballroom in Los Angeles. 

Mark Ulano, president of the CAS, said, “Anna is a world-renowned re-recording mixer with a huge portfolio of iconic credits. Her long-time collaborations with filmmakers and her work on over 150 projects is a testament to her excellence and creativity. She’s been nominated a dozen times for the prestigious CAS award for her outstanding mixing work and is also multi-nominated by her peers at the Academy of Motion Pictures Arts and Sciences and the British Academy as well, signifying the very high regard with she is held among her peers. She is a beloved figure and I take great pleasure in announcing the CAS’ recognition of Anna and her terrific body of work.”

Behlmer, who grew up in Hollywood not far from Glen Glenn and Todd O-A, is a first-generation American, the daughter of Italian immigrants. Growing up, she used to walk to Hollywood Blvd. to go to the movies, sometimes to a double feature. She loved movies from the Disney films of her childhood to the B movies of her teenage years. Film was a big part of her life, but she never thought she would be involved in the film business.

In college, she started dating a sound engineer who worked at Ryder Sound in Hollywood. “I spent a lot of time there visiting him and, while I was there, I helped load dubbers and tried to help out any way I could.  Gary Bourgeois was the mixer there at the time and he said to me ‘You should get yourself a union card’. Since I was a bit bored with school, I pursued getting in the union. I was advised to go to Glen Glenn Sound because they had two women working there, and a woman in charge of scheduling and hiring crews. I walked into Jan Olson’s office and asked her to help me, and she said yes,” recalled Behlmer.

Her first call was on the Paramount lot working on Laverne and Shirley and Happy Days as a Y-15 loader. She then went to work in the new Glen Glenn building on stage 2 doing mostly TV and was promoted to recordist working with Bourgeois when he came to Glen Glenn. Glen Glenn merged with Todd -AO and they developed a mixer training program. In 1989, with the encouragement of JR Delang, Chris Jenkins, and Bourgeois, Behlmer joined the program. There were no female re-recording mixers at that time. “I never looked back. I found something that was fun, that I loved doing and that I had an aptitude for,” said Behlmer. She stayed at ToddAO and worked with the great Richard Portman for several years. Later she began an almost 20-year collaboration with Andy Nelson which started at Todd-AO in 1993 an ended at Fox in 2012.

In 1996, Behlmer became the first woman to be nominated for an Academy Award in the Sound Mixing category for Braveheart. The following year there was a second Oscar® nomination for Evita.

Fox was opening new stages in 1998 and Behlmer moved over to Fox where she mixed for the next 14 years. During that time, she added eight more Oscar® nominations for L.A. Confidential, The Thin Red Line, Moulin Rouge!, Seabiscuit, The Last Samurai, War of the Worlds, Blood Diamond and Star Trek. Additionally, she’s received six BAFTA nominations (with three wins), 12 CAS nominations and five Satellite Award nominations.

In 2012 a new and exciting opportunity came her way, to be involved with the new Technicolor facility at Paramount. She now works about 50 feet from the place where she had her first call on Laverne and Shirley and Happy Days.  She has come full circle, and that engineer she was dating is Curt--her husband of 33 years.

Behlmer is a long-time member of the Academy of Motion Picture Arts & Sciences and has served several terms on the Sound Branch Executive Committee. She resides in Studio City and is an avid runner, skier and golfer.

Behlmer joins an illustrious group of past CAS Career Achievement Honorees that includes: John Pritchett, Don Rogers, Walter Murch, Les Fresholtz, Tomlinson Holman, Richard Portman, Jim Webb, Charles Wilborn, Gary Rydstrom, Willie Burton, Mike Minkler, Ed Greene, Dennis Sands, Randy Thom, Jeffrey S. Wexler, Scott Millan, Chris Newman, Andy Nelson, David Macmillan, Doc Kane and John Pritchett.

  • Saturday, Jul. 29, 2017
NMPA's president/CEO David Israelite to keynote Production Music Conference
David Israelite, president/CEO of the National Music Publishers' Association
HOLLYWOOD, Calif. -- 

The Production Music Association has announced its first keynote speaker for the 2017 Production Music Conference on October 4-6 at the Loews Hotel in Hollywood. David Israelite, president/CEO of the National Music Publishers’ Association, will speak on October 5 at 10:45am.

“I am honored to keynote the PMC Conference. The NMPA works to protect creators on many fronts, and production music has specific challenges that I look forward to discussing,”  said Israelite. 

Israelite is responsible for overseeing all aspects of the NMPA’s operations, from legal strategy and implementation, to government affairs and advocacy. His tenure to date has produced landmark legal successes on behalf of publishers, groundbreaking industry collaboration in royalty rate agreements, and raising the profile of the publishing community within the music industry. He has been named to Billboard’s Power 100 multiple times, and serves on several boards, including the Songwriters Hall of Fame and the Special Olympics DC.

  • Wednesday, Jul. 26, 2017
Jury: Michael Jackson estate owes Quincy Jones $9.4 million
In this Feb. 28, 1984 file photo, Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles. On Wednesday, July 26, 2017, a jury found that Jackson’s estate owes Jones $9.4 million in royalties and production fees from “Billie Jean,” “Thriller” and more of the superstar’s biggest hits. (AP Photo/Doug Pizac, File)
LOS ANGELES (AP) -- 

A jury on Wednesday found that Michael Jackson's estate owes Quincy Jones $9.4 million in royalties and production fees from "Billie Jean," ''Thriller" and more of the superstar's biggest hits.
The award from a Los Angeles Superior Court jury fell short of the $30 million the legendary producer sought in the lawsuit filed nearly four years ago, but well above the approximately $392,000 the Jackson estate contended Jones was owed.

The jury of 10 women and two men had been deliberating since Monday.

"This lawsuit was never about Michael, it was about protecting the integrity of the work we all did in the recording studio and the legacy of what we created," Jones wrote in a statement. "Although this (judgment) is not the full amount that I was seeking, I am very grateful that the jury decided in our favor in this matter.  I view it not only as a victory for myself personally, but for artists' rights overall."

Estate attorney Howard Weitzman said he and his team were surprised by the verdict.

"I understand everybody's going to say it could have been much worse — they were asking for huge amounts, 30 (million)," Weitzman said. "We're still disappointed."
He said the estate planned an appeal.

Jones claimed in the lawsuit that Jackson's estate and Sony Music Entertainment owed him for music he had produced that was used in the concert film "This Is It" and two Cirque du Soleil shows that used Jackson's songs.

The lawsuit said the entities had improperly re-edited the songs to deprive Jones of royalties and production fees, and that he had a contractual right to take first crack at any re-edit or remix.

The Jackson camp held that Jones should only be paid licensing fees for songs used in those three productions. Jones claimed he was entitled to a share of the overall receipts from them.

The trial centered on the definitions of terms in the two contracts Jackson and Jones signed in 1978 and 1985.

Under the deals, for example, Jones is entitled to a share of net receipts from a "videoshow" of the songs. The Jackson attorneys argued that the term was meant to apply to music videos and not feature films.

Jury foreman Duy Nguyen, 28, said the contracts were the strongest pieces of evidence the jury considered, and said hearing Jones' testimony was also helpful.

He said he and many members of the jury are Jackson fans, but that didn't factor into the deliberations. He said the verdict amount was a compromise figure based on an expert's testimony.

Jones took the stand during the trial, and was asked by Jackson estate attorney Howard Weitzman whether he realized he was essentially suing Jackson himself.
Jones angrily disagreed.

"I'm not suing Michael," he said. "I'm suing you all."

The defense attorneys pointed out that Jackson's death in 2009 has already been lucrative for Jones, who made $8 million from his share of their works in the two years after the singer's death, versus $3 million in the two years previous.

"You don't deserve a raise," Weitzman said during closing arguments. "You can't have any more of Michael Jackson's money."

Jones insisted he was seeking his due for the work he has done rather than merely seeking money.

His attorney Scott Cole accused the defense of using "word games and loopholes" to deny Jones, the Hollywood Reporter said.

The producer worked with Jackson on the three-album run widely considered the performer's prime: "Off the Wall," ''Thriller" and "Bad."

Jackson's hits from those albums including "Billie Jean," ''Thriller" and "Don't Stop 'Til You Get Enough" are among the songs Jones claims were re-edited.

The lawsuit initially set the amount Jones sought at least $10 million, but his attorneys later arrived at $30 million after an accounting of the estate's profits from the works.

Jones and Jackson proved to be a perfect partnership starting with 1979's "Off the Wall." Jackson gave a youthful pop vitality to Jones, who was known primarily as a producer and arranger of jazz and film soundtracks. And Jones lent experience and gravitas to Jackson, who was still best known to most as the child prodigy who fronted the Jackson 5.

Associated Press Writer Andrew Dalton contributed to this report.

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