A record label is a brand and a trademark associated with the marketing of music recordings and music videos. Most commonly, a record label is the company that manages such brands and trademarks, coordinates the production, manufacture, distribution, marketing and promotion, and enforcement of copyright protection of sound recordings and music videos; conducts talent scouting and development of new artists ("artists and repertoire" or "A&R"); and maintains contracts with recording artists and their managers. The term "record label" derives from the circular label in the center of a vinyl record which prominently displays the manufacturer's name, along with other information.^[1]

Music industry[link]

Within the music industry; most recording artists have become increasingly reliant upon record labels to broaden their consumer base, market their albums, and be both promoted and heard on mp3, radio, etc. and of course television also, with publicists that assist performers in positive media reports to market their merchandise, and make it available via stores and other media outlets. The Internet has increasingly been a way that some artists avoid costs and gain new audiences, as well as the use of videos in some cases, to sell their products.

Major vs. independent record labels[link]

Record labels may be small, localized, and "independent" ("indie"), or they may be part of a large international media group, or somewhere in between. The largest four record labels are called "major labels".^[2] A "sublabel" is a label that is part of a larger record company, but it trades under a different name.

Imprint[link]

When a label is strictly a trademark or brand, not a company, then it is usually called an imprint, a term used for the same concept in the publishing industry. An imprint is sometimes marketed as being a project, unit, or division of a record label company, even though there is no legal business structure associated with the imprint.

Major labels[link]

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Major labels 1988–1998 (Big Six)

1. Warner Music Group
2. EMI
3. Sony Music (known as CBS Records until January 1991 then known as Sony Music thereafter)
4. BMG Music
5. Universal Music Group
6. Polygram

Major labels 1998–2004 (Big Five)

1. Warner Music Group
2. EMI
3. Sony Music
4. BMG Music
5. Universal Music Group (Polygram absorbed into UMG)

Major labels 2004–2008 (Big Four)

1. Warner Music Group
2. EMI
3. Sony BMG (Sony and BMG joint-venture)
4. Universal Music Group

Major labels 2008–2011 (Big Four)

1. Sony Music Entertainment
2. EMI Group
3. Warner Music Group
4. Universal Music Group

Major labels since late 2011, if approved (Big Three)

1. Sony Music Entertainment
2. Warner Music Group
3. Universal Music Group (EMI recorded music division to be absorbed into UMG, pending approval by antitrust regulators^[3][4])

Record labels are often under the control of a corporate umbrella organization called a "music group". A music group is typically owned by an international conglomerate "holding company", which often has non-music divisions as well. A music group controls and consists of music publishing companies, record (sound recording) manufacturers, record distributors, and record labels. As of 2005, the "big four" music groups control about 70% of the world music market, and about 80% of the United States music market. Record companies (manufacturers, distributors, and labels) may also comprise a "record group" which is, in turn, controlled by a music group. The constituent companies in a music group or record group are sometimes marketed as being "divisions" of the group.

Independent[link]

Record companies and music publishers that are not under the control of the big three are generally considered to be independent (indie), even if they are large corporations with complex structures. The term indie label is sometimes used to refer to only those independent labels that adhere to an independent criteria of corporate structure and size, and some consider an indie label to be almost any label that releases non-mainstream music, regardless of its corporate structure.

Sublabel[link]

Music collectors often use the term sublabel to refer to either an imprint or a subordinate label company (such as those within a group). For example, in the 1980s and 1990s, "4th & B'way" was a trademarked brand owned by Island Records Ltd. in the UK and by a subordinate branch, Island Records, Inc., in the United States. The center label on a 4th & Broadway record marketed in the US would typically bear a 4th & B'way logo and would state in the fine print, "4th & B'way™, an Island Records, Inc. company". Collectors discussing labels as brands would say that 4th & B'way is a sublabel or imprint of just "Island" or "Island Records". Similarly, collectors who choose to treat corporations and trademarks as equivalent might say 4th & B'way is an imprint and/or sublabel of both Island Records, Ltd. and that company's sublabel, Island Records, Inc. However, such definitions are complicated by the corporate mergers that occurred in 1989 (when Island was sold to PolyGram) and 1998 (when PolyGram merged with Universal). Island remained registered as corporations in both the US and UK, but control of its brands changed hands multiple times as new companies were formed, diminishing the corporation's distinction as the "parent" of any sublabels.

Vanity labels[link]

Vanity labels are labels that bear an imprint that gives the impression of an artist's ownership or control, but in fact represent a standard artist/label relationship. In such an arrangement, the artist will control nothing more than the usage of the name on the label, but may enjoy a greater say in the packaging of his or her work. An example of such a label is the Neutron label owned by ABC while at Phonogram in Great Britain. At one point artist Lizzie Tear (under contract with ABC themselves) appeared on the imprint, but it was devoted almost entirely to ABC's offerings and is still used for their re-releases (though Phonogram owns the masters of all the work issued on the label).

However, not all labels dedicated to particular artists are completely superficial in origin. Many artists, early in their careers, create their own labels which are later bought out by a bigger company. If this is the case it can sometimes give the artist greater freedom than if they were signed directly to the big label. There are many examples of this kind of label, such as Nothing Records, owned by Trent Reznor of Nine Inch Nails; and Morning Records, owned by The Cooper Temple Clause, who were releasing EPs for years before the company was bought by RCA.

Relationship with artists[link]

A label typically enters into an exclusive recording contract with an artist to market the artist's recordings in return for royalties on the selling price of the recordings. Contracts may extend over short or long durations, and may or may not refer to specific recordings. Established, successful artists tend to be able to renegotiate their contracts to get terms more favorable to them, but Prince's much-publicized 1994–1996 feud with Warner Bros. provides a strong counterexample, as does Roger McGuinn's claim, made in July 2000 before a US Senate committee, that The Byrds never received any of the royalties they had been promised for their biggest hits, "Mr. Tambourine Man" and "Turn, Turn, Turn".^[5]

A contract either provides for the artist to deliver completed recordings to the label, or for the label to undertake the recording with the artist. For artists without a recording history, the label is often involved in selecting producers, recording studios, additional musicians, and songs to be recorded, and may supervise the output of recording sessions. For established artists, a label is usually less involved in the recording process.

The relationship between record labels and artists can be a difficult one. Many artists have had albums altered or censored in some way by the labels before they are released—songs being edited, artwork or titles being changed, etc. Record labels generally do this because they believe that the album will sell better if the changes are made. Often the record label's decisions are prudent ones from a commercial perspective, but this typically frustrates the artist who feels that their artwork is being diminished or misrepresented by such actions.

In the early days of the recording industry, record labels were absolutely necessary for the success of any artist. The first goal of any new artist or band was to get signed to a contract as soon as possible. In the 1940s, 1950s and 1960s, many artists were so desperate to sign a contract with a record company that they usually ended up signing a bad contract, typically giving away the rights to their music in the process. To this day, standard recording contracts define record labels as the rightsholders of the music that the contracts cover. Entertainment lawyers can be used by some to look over any contract before it is signed.^{[citation needed]}

Through the advances of the Internet the role of labels is becoming increasingly diminished, as artists are able to freely distribute their own material through web radio, peer to peer file sharing such as BitTorrent, and other services, for little or no cost. Bigger artists such as Nine Inch Nails have announced an end to their major label contracts, citing that the uncooperative nature of the recording industry with these new trends are hurting musicians and the industry as a whole, and most of all hurting the fans.^[6] Radiohead also cited similar motives with the end of their contract with EMI when their album In Rainbows was released as a "pay what you want" sales model as an online download.

New label strategies[link]

With the advancement of the computer and technology like internet, leading to an increase in file sharing and direct-to-fan digital distribution, combined with music sales plummeting in recent years^{[citation needed]}, labels and organizations have had to change their strategies and the way they work with artists. New types of deals are being made with artists called "multiple rights" or "360" deals with artists. These types of pacts give labels rights and percentages to artist's touring, merchandising, and endorsements. In exchange for these rights, labels usually give higher advancement payments to artists, have more patience with artist development, and higher percentages in CD sales. These 360 style deals are most effective when the artist is established and has a loyal fan base. For that reason, labels now have to be more relaxed with the development of artists because longevity is the key to these types of pacts. Several artists such as Paramore, Maino, and even Madonna have signed such types of deals.

A look at an actual 360 deal offered by Atlantic Records to an artist shows a variation of the structure. Atlantic’s document offers a conventional cash advance to sign the artist, who would receive a royalty for sales after expenses were recouped. With the release of the artist's first album, however, the label has an option to pay an additional $200,000 in exchange for 30 percent of the net income from all touring, merchandise, endorsements and fan-club fees. Atlantic would also have the right to approve the act’s tour schedule, and the salaries of certain tour and merchandise sales employees hired by the artist. But the label also offers the artist a 30 percent cut of the label's album profits —if any—which represents an improvement from the typical industry royalty of 15 percent.^[7]

History[link]

Industry consolidation[link]

In the 1970s and 1980s, there was a phase of consolidation in the record industry that led to almost all major labels being owned by a very few multinational companies. CDs still flow through a handful of sources, with the majority of the sales going through the "big four" record labels.

Resurgence of independent labels[link]

In the 1990s, as a result of the widespread use of home studios, consumer recording technology, and the Internet, independent labels began to become more commonplace. Independent labels are often artist-owned (although not always), with a stated intent often being to control the quality of the artist's output. Independent labels usually do not enjoy the resources available to the "big four" and as such will often lag behind them in market shares. Often independent artists manage a return by recording for a much smaller production cost of a typical big label release. Sometimes they are able to recoup their initial advance even with much lower sales numbers.

On occasion, established artists, once their record contract has finished, move to an independent label. This often gives the combined advantage of name recognition and more control over one's music along with a larger portion of royalty profits. Artists such as Dolly Parton, Aimee Mann, Prince, Public Enemy, BKBravo (Kua and Rafi), among others, have gone this route. Historically, companies started in this manner have been re-absorbed into the major labels (two examples are Frank Sinatra's Reprise Records, which has been owned by Warner Music for some time now, and Herb Alpert's A&M Records, now owned by Universal Music Group). Similarly, Madonna's Maverick Records (started by Madonna with her manager and another partner) was to come under control of Warner Music when Madonna divested herself of controlling shares in the company.

There are many independent labels; folk singer Ani DiFranco's Righteous Babe Records is often cited as an ideal example. The singer turned down lucrative contracts from several top-name labels in order to establish her own New York-based company. Constant touring resulted in noteworthy success for an act without significant major funding. Ani and others from the company have spoken on several occasions about their business model in hopes of encouraging others.

Some independent labels become successful enough that major record companies negotiate contracts to either distribute music for the label or in some cases, purchase the label completely.

On the punk rock scene, the DIY ethic encourages bands to self-publish and self-distribute. This approach has been around since the early 1980s, in an attempt to stay "true" to the punk ideals of doing it yourself and not "selling out" to corporate profits and control. Such labels have a reputation for being fiercely uncompromising and especially unwilling to cooperate with the big record labels at all. One of the most notable and influential labels of the Do-It-Yourself attitude was SST Records, created by the band Black Flag. No labels wanted to release their material, so they simply created their own label to release not only their own material but the material of many other influential underground bands all over the country. Ian MacKaye's Dischord is often cited as a model of success in the DIY community, having survived for over twenty years with less than twelve employees at any one time.

Internet and digital labels[link]

With the Internet now being a viable source for obtaining music, netlabels have emerged. Depending on the ideals of the net label, music files from the artists may be downloaded free of charge or for a fee that is paid via Paypal or other online payment system. Some of these labels also offer hard copy CDs in addition to direct download. Most net labels acknowledge the Creative Commons licensing system thus reserving certain rights for the artist. Digital Labels are the latest version of a 'net' label. Whereas 'net' labels were started as a free site, digital labels are more competition for the major record labels.^{[citation needed]}

Open source labels[link]

The new century brings the phenomenon of open-source or open-content record label. These are inspired by the free software and open source movements and the success of GNU/Linux.

Publishers as labels[link]

In the mid-2000s, some music publishing companies began undertaking the work traditionally done by labels. The publisher Sony/ATV Music, for example, leveraged its connections within the Sony family to produce, record, distribute, and promote Elliott Yamin's debut album under a dormant Sony-owned imprint, rather than waiting for a deal with a proper label.^[8]

See also[link]

• List of record labels
• White label

References[link]

v t e Music industry Genres Avant-garde · Blues · Contemporary R&B · Country · Crossover · Dance · Drum and bass · Easy listening · Electronica · Experimental · Folk · Funk · Gospel · Hip hop · Instrumental · Jazz · Latin · Motown · New age · Operatic pop · Pop · Reggae · Rock · Soul · Soundtrack · World Sectors and roles Album cover design · Artists and repertoire (A&R) · Distribution · Entertainment law · Music education · Music executive · Music journalism · Music publisher · Music venue · Musical instruments · Promotion · Radio promotion · Record label · Record shop · Road crew · Talent manager · Tour promoter Production Arrangement · Record producer · Recording artist · Session musician · Songwriter · Sound engineer Record labels Major: EMI · Sony Music Entertainment · Universal Music Group · Warner Music Group · Independent: Independent UK record labels Release formats Album · Extended play (EP)/Mini album · Single Awards American Music Award · ARIA Music Awards · Billboard Music Awards · Brit Awards · Choice Music Prize · Classic Brit Awards · Diapason d'Or · Echo Award · Golden Disk Awards · Grammy Award · Grand Prix du Disque · Juno Award · Latin Grammy Awards · Meteor Music Awards · MTV Europe Music Awards · MTV Video Music Awards · MuchMusic Video Awards · Music of Black Origin Awards · New Zealand Music Awards · NRJ Music Award · TEC Awards · World Music Awards Charts ARIA Charts · Billboard Hot 100 · Canadian Hot 100 · RIANZ Singles Chart · Irish Singles Chart · UK Singles Chart Sales certifications ARIA (Gold · Platinum) · BPI (Silver · Gold · Platinum) · CRIA (Gold · Platinum · Multi-Platinum · Diamond) · PROMUSICAE (Gold · Platinum) · RIAA (Gold · Platinum · Multi-Platinum · Diamond) Publications Billboard · HitQuarters · Hot Press · Kerrang! · Mojo · NME · Q · Rolling Stone · Smash Hits · Top of the Pops Retailers Amazon.com · Fnac · HMV Group · Online music stores (iTunes Store) · Trans World Entertainment · Virgin Megastores Television Black Entertainment Television · Country Music Television · Fuse TV · Idol · Juice TV · MTV · MuchMusic · The Music Factory · Star Academy · Viva · The Voice · The X Factor Other A-side and B-side · Christian music industry  · Hidden track  · Grammy Museum  · White label Category

Shawn A. Mayer (born March 4, 1979 in Hillsborough Township, New Jersey) is a professional American football player, currently a safety on the Cleveland Browns practice squad.

Originally signed as an undrafted free agent by the New England Patriots in 2003, Mayer played in 9 games that season, compiling 15 tackles, including one in Super Bowl XXXVIII [1]. That one Super Bowl tackle remarkably was of Carolina Panthers wide receiver Ricky Proehl, who attended the same Hillsborough High School as Mayer. He would appear in only 3 games in 2004, and in February 2005 he signed as a free agent with the Atlanta Falcons who then allocated him to NFL Europe. Mayer excelled as a member of the Hamburg Sea Devils, matching the NFL Europe record for interceptions in a game (3), [2] setting team records for interceptions in a season (5) and in a game (3) [3] and earning All-NFL Europe honors. He would return to play for Hamburg during the 2006 season, this time allocated by the Cleveland Browns. [4]

Mayer started 23 games while at Penn State University and finished his career with 252 tackles, 5 interceptions, 1.5 sacks and 8 tackles for loss. He earned a Bachelor of Science in Administration of Justice from Penn State University in 2003.

He grew up in Hillsborough Township, New Jersey^[1] and was twice-named a USA Today All-American and New Jersey SuperPrep following his junior and senior seasons at Hillsborough High School where he also excelled in track and field.

References[link]

External links[link]

• NFL player page www.nfl.com
• Player profile, www.nfleurope.com
• Transaction history, Sportsnet

Jessie J
Jessie J at the O2 Arena in London in 2011.
Background information
Birth name	Jessica Ellen Cornish
Also known as	Jessie J
Born	(1988-03-27) 27 March 1988 (age 24) Chadwell Heath, London, England, United Kingdom
Genres	pop, hip hop, R&B, dance-pop, soul
Years active	2005–present
Labels	Lava, Universal Republic, Island, Gut
Website	jessiejofficial.com

Jessica Ellen Cornish (born 27 March 1988), better known by her stage name Jessie J, is an English singer and songwriter. Born and raised in London, she studied at the BRIT School before signing with Gut Records and striking a songwriting deal with Sony/ATV Music Publishing where she wrote for artists such as Chris Brown and Miley Cyrus.

Signed with Universal, Jessie J came to prominence following the release of her debut single "Do It Like a Dude" which peaked at number two on the UK Singles Charts. After scoring her first number one in the United Kingdom, France, Ireland and New Zealand with the song "Price Tag", she released her debut album Who You Are (2011) which charted at number two in the UK. Other releases from the album include "Nobody's Perfect", "Who's Laughing Now" and "Who You Are" which charted within the top 20 in the UK but the release of fifth single "Domino" spawned international chart success, peaking at number 6 on the Billboard Hot 100 in the US, and becoming her second UK number one. Aside from her musical career, Jessie J is currently a coach and mentor on television show The Voice UK.

Citing various influences, Jessie J is recognized for an unconventional musical and performance style^[1][2] that mixes her soul voice with contemporary R&B, pop, and hip-hop influences. Jessie J has garnered various awards and nominations for her contributions to the music industry, including the 2011 Critics' Choice BRIT Award and the BBC's Sound of 2011. As of April 2012, Jessie has sold over 11 million singles and 2.5 million records worldwide.^[3][4]

Early life[link]

Jessie J was born Jessica Ellen Cornish in Chadwell Heath, London,^[5] daughter of Stephen Cornish and Rose Cornish (née Archer). She was educated at Mayfield High School in the London Borough of Redbridge. She attended Colin's Performing Arts School and as an 11-year old-was cast in Andrew Lloyd Webber's West End production of Whistle Down the Wind.^[6][7][8] Jessie has two sisters, who are five and seven years older than her, who were both head girls at school. Unlike her academic sisters, Cornish has stated she was "never really that good at anything". She said, "At school they were like 'oh, you're a Cornish girl' and they kind of expected me to be the same as my sisters. Give me something to draw or an outfit to pick for someone, or hair, make-up, acting, write a song, I'm fine with it, but anything to do with sums – it was never my thing." She also said she never based her intelligence on her exam results.^[9] She also said she was always good at singing and it was her "thing". At the age of 16 she began studying at the BRIT School and at 17 she joined a girl group named Soul Deep.^[10] She graduated in the class of 2006 along with singers Adele and Leona Lewis.^[11] At 18 she suffered a stroke.^[12]

Music career[link]

2006–2010: Career beginnings[link]

Jessie J was signed to Gut Records, recording an album for the label, but the company went bankrupt before any material was released.^[8][10] She then found success as a songwriter, gaining a Sony ATV publishing contract.^[13] She was also the support act for Cyndi Lauper during Lauper's UK dates of her 2008 Bring Ya To The Brink tour (Lauper invited J to join her on stage for the performances of "Girls Just Want To Have Fun"). Jessie has also written lyrics for artists such as Chris Brown and Miley Cyrus, including "Party in the U.S.A.".^[14][15] Jessie J was also part of a girl band, called Soul Deep, for two years, however she left due to thoughts that "it wasn't going anywhere". Despite people thinking that her first notoriety was through YouTube, Jessie was signed for four years before her first video was posted. Jessie first came to the attention of Lava Records when her publisher at Sony/ATV, Rich Christina, sent Lava president Jason Flom a link to her MySpace page, which the record executive loved.^[16] After seeing an impressive U.S. showcase, Lava was, along with several other labels, keen to sign the artist but progress was hampered by her management's insistence on, what Flom called, a "crazy deal", and their refusal to let Jessie speak to any labels directly.^[16] Despite this, Senior Director of A&R at Lava, Harinder Rana, made surreptitious efforts to meet Jessie on her own in winter of 2008. Later in the year a change in management to Sarah Stennett and Nadia Khan of Crown Music allowed record deal negotiations to take place. Jessie eventually signed with Lava as part of a joint venture with Universal Republic.^[16]

[edit] 2010–2012: Who You Are

Jessie J performing at a concert in New York City in 2011.

Jessie J began recording her debut studio album in 2006 and it was completed on 19 January 2011.^[17][18] She revealed that "Big White Room" would be on the album and was written from an experience she had when she was 11 years old, although she wrote the song at age 17, in hospital, where a ward mate, a little boy, died.^[19] Jessie J says the album's title track, "Who You Are", is one of her proudest creations, she said the song is a "positive role model for young people" and "I always say that I'm half-artist, half-therapist".^[19] In late 2010 Jessie J released her first single, "Do It Like a Dude" which was co-written with George Astasio, Tj Normandin, Jason Pebworth, Jon Shave, Kyle Abrahams and Peter Ighile. Originally, she wrote the song with Rihanna in mind because "Rude Boy" was released at the time, partly inspiring the song. She then sent the song to her label, Island Records, before sending it to Rihanna's management. Island insisted the song become Jessie J's first single.^[20] She wishes to perform the song with Rihanna at one point.^[21] The single gained positive reception from critics.^[22] The single charted at number two on the UK Singles Charts. Her follow-up single "Price Tag" was released in late January 2011. This was written by Jessie J, Lukasz Gottwald, Claude Kelly, and Bobby Ray Simmons, Jr. and charted at number one in the top of the charts. "Price Tag" was released in the United States on 1 February 2011 and peaked at 23 on the Billboard Hot 100.^[23] "Price Tag" also charted at number-one in New Zealand and Ireland and is the most successful online video J has released. As of October 2011, the video has generated over 148 million views on Youtube and Vevo, making it the 22nd most viewed music video of all time.^[24][25] Her first American television appearance was as the musical guest on the 12 March 2011 episode of NBC's Saturday Night Live.^[26]

On 25 February 2011 her debut album, Who You Are, was released.^[27] The album first entered the charts on 6 March 2011 where it charted on the UK Album Charts at number two. The album charted into the top ten in a number of countries and number 11 in the United States.^[28] After the release she went on to release a third single from the album, "Nobody's Perfect".^[29] MTV reported that the single is, so far, only confirmed for release in the United Kingdom.^[30] The album's fourth single was "Who's Laughing Now". "Domino" was her second US single.^[31] The Dr. Luke-produced track was sent to mainstream radio on 6 September 2011.^[32] With the success of Who You Are in North America, Jessie was chosen to tour as the opening act for American pop artist Katy Perry's California Dreams Tour in 2011 but after she was unable to fully recover from her injuries during rehearsals she was forced to pull out under the doctor's orders.^[33] Jessie J served as the house artist at the 2011 MTV Video Music Awards, performing several of her original songs along with covers around commercial breaks.^[34]

James Morrison's third studio album, The Awakening features a collaboration with Jessie J called "Up", the song was released as a single on 4 December 2011. Jessie J re-released "Who You Are" on 9 November 2011, featuring the regular tracks plus "Domino" and two new songs. "Domino" became her first top 10 hit in the U.S., following the success of "Price Tag". The song also peaked at number 1 in January 2012 in the UK, before it was even officially released there.

[edit] 2012–present: Second studio album and The Voice

On 4 October 2011, Jessie announced that she will be one of four coaches for new BBC program, The Voice UK.^[35] The show was announced after the success of the US version, The Voice. It premiered in March 2012 on BBC One. It will be presented by Holly Willoughby and Reggie Yates, with will.i.am (of The Black Eyed Peas), Tom Jones and Danny O'Donoghue (of The Script) joining Jessie on the coaching panel.^[36] The first stage of the competition, The Blind auditions, began in London on 18 January 2012 at the BBC Television Centre and finished filming on 22 January 2012. The winner will receive £100,000 and a record deal with Universal Republic. It was also reported that the 4 coaches recorded a cover of the Black Eyed Peas song, "I Gotta Feeling", and will release an accompanying music video to help promote the show.^[37]

On 31 January 2012, Jessie announced that she had begun recording for her second studio album.^[38] She also stated that she hopes to collaborate with many artists this year, possibly including some of her fellow coaches on The Voice.^[39] It was revealed that she has worked in the studio with Cee-Lo Green after he tweeted her on twitter. Jessie has also revealed on twitter that she has worked with Diane Warren as well as reuniting in the studio with her 'Price Tag' co-writer Claude Kelly.

Jessie will embark on her first arena tour in March 2013. Via microblogging website, Twitter, Jessie J confirmed the tour will be called Nice to Meet You Tour.^[40]

Personal life[link]

Jessie J performing at the 2011 The Big Chill, sitting on the "gilded throne" she used for performances while her foot was broken.

In early 2011 she suffered a panic attack on stage after she was forced to perform in the dark. "I did a gig recently and had a panic attack on stage," she told NOW. "The night was called 'Black Out' and I had to perform in the dark. I asked them to turn on the lights and they didn't. I was onstage in pitch black and, because I couldn't see anything, I started to panic. It was awful."^[41]

Jessie J is bisexual and stated in an interview on the "In Demand" radio show on 3 March 2011, "I've never denied it. Whoopie doo guys, yes, I've dated girls and I've dated boys – get over it."^[42][43] However, in April 2012 The Sun outed her as homosexual which she denied via Twitter, calling it a "yet another boring untrue story".^[44] According to The Guardian, Jessie J's sexuality is valuable to young teens, especially for young girls unsure of themselves because of their sexuality and identity, to feel "that this does happen and this is normal."^[45]

On 12 June 2011 at the Capital Radio Summertime Ball, Jessie ruptured several tendons in her foot during rehearsals, and performed her set the following day while sitting on a gilded throne.^[46] For her appearance at Glastonbury Festival 2011 on 25 June 2011, she performed on the throne again, claiming her physician had told her not to perform with her broken foot which would take six weeks to heal.^[47] Jessie J was scheduled to play at several festivals throughout the summer, however it was reported on 1 July 2011 that she would not be able to attend T in the Park, T4 On The Beach, Wembley:Orange, iTunes Festival, Lovebox and Oxegen due to the injuries to her foot. Jessie J personally tweeted before surgery; "Keep making nervous jokes with the doctor and he keeps looking at me blankly. Which is making me laugh even more. It's getting serious. I just took my nose stud out." Tweeting after the surgery, she wrote: "Can't keep tweeting. Still very dizzy and being sick. But I'm OK, I got through it." Her record label released an official statement on 30 June 2011 that under strict orders from her doctor, she will not be able to perform for a number of weeks so she can heal and recuperate properly.^[48] She returned to the concert circuit in late August, including sets at the V Festival^[49] and The Big Chill. For the 2011 VMA's she was still in a cast and using the throne to keep off it.

Jessie J confirmed on 2 August 2011 that she would be shaving her hair off for charity in 2012. Speaking via her official Twitter account she said: "It’s hair, It will grow back. Even if it takes 2 years, if it saves lives it’s worth it. Even if its 1 life that’s something."^[50]

‎Artistry and voice[link]

Jessie J performing at the Bournemouth International Centre in 2011.

Although she was first identified as a soul singer, she primarily records songs of contemporary R&B and pop music with hip-hop influences.

Music critic Matthew Perpetua of Pitchfork Media compared Jessie J to her peers Adele and Amy Winehouse, but suggested she was missing something: "Whereas Adele and Winehouse also have powerhouse voices, they fit into clear aesthetic niches and invest their songs with depth and humanity. Jessie J doesn't have even a fraction of their restraint." Perpetua added: "Her idea of showcasing her gift is to shoot for a blaring melisma on "Mamma Knows Best" that makes Christina Aguilera seem as subtle as Joni Mitchell by comparison."^[51]

Ailbhe Malone of the music magazine NME also recognized Cornish's "undeniably potent voice". However, she pointed out the possible "identity crisis" that might have been caused by Jessie's songwriter past: "This is an album of singles for other artists. There’s Rihanna Jessie (‘Do It...’), Perry Jessie (‘Abracadabra’), Pixie Jessie (‘Mamma Knows Best’), Ellie Jessie ('Big White Room')."^[52]

Caroline Sullivan of The Guardian shared her positive opinion about the singer, saying that "if any singer has the potential to be the British Katy Perry or Pink, with the accompanying millions of sales, it's her". Sullivan also complimented Cornish's attitude: "[Her songs] are delivered with a confidence that money can't buy."^[53]

Entertainment Weekly's music critic Adam Markovitz said of Jessie: "The 23-year-old Brit has all the tools, from a monster voice to an ear for hooks — she co-wrote Miley Cyrus' 'Party in the U.S.A.' — and a manic persona that's equal parts Katy Perry, Kristin Chenoweth, and Alice Cooper."^[54]

Discography[link]

• Who You Are (2011)

Concert tours[link]

Headlining

• Stand Up Tour (2011)
• Heartbeat Tour (2011-12)
• Nice To Meet You Tour (2013)

Filmography[link]

Awards and nominations[link]

References[link]

Wikimedia Commons has media related to: Jessie J

External links[link]

• Official website
• Jessie J discography at Discogs
• Jessie J's channel on YouTube
• Jessie J's BBC Sound of 2011 page at BBC Online

Joey Youngman, better known by his stage name Wolfgang Gartner, is a Grammy-nominated American house music producer and DJ. Much of his music prior to 2010 was released through his own record label, Kindergarten,^[1] but he signed with Ultra Records in 2010 and Ministry of Sound in the UK in 2011.^[2]

Background[link]

Youngman created the Wolfgang Gartner name in late 2008 after establishing a moderately successful name as a Deep House DJ. Not wanting to be criticized for such an abrupt departure in style, Youngman created the name anonymously. Gartner's identity was revealed officially in July 2008.^[3] Youngman took the name from the coach of the Cal Poly Mustangs men's soccer team.^[4] The Wolfgang Gartner logo was created in 2010 by New York graffiti artist Eric Haze who created logos for the Beastie Boys, Public Enemy and EPMD.

Gartner hosted the first episode of MTV's dance music show "Clubland" which aired on September 22, 2011. ^[5] A portion of the episode was filmed at his home in Los Angeles, where he gave a tour of his studio and introduced music videos.

Music[link]

A total of eight of Gartner's songs have held the #1 position on the Beatport Top 10 Chart.^[6] His single "Wolfgang's 5th Symphony" was the highest selling song on Beatport.com in 2009. Gartner received a Grammy nomination for his remix of Andy Caldwell's "Funk Nasty" in the Best Remixed Recording (Non Classical) Category in 2010.

On September 20, 2011 Gartner released his first full length album Weekend in America. The album featured vocal cameos from Omarion, Jim Jones & Cam'ron, will.i.am and Eve. It peaked at #2 in iTunes' dance chart and #1 in Beatport's album chart. Gartner also collaborated with Deadmau5 on "Animal Rights" and with Skrillex on "The Devil's Den." These collaborations were released on Deadmau5's 4x4=12 album and Skrillex's Bangarang, respectively.

Gartner's music has been featured in a number of video games including the racing game Midnight Club: Los Angeles ("Squares" and "Montezuma"), snowboarding game Stoked ("Circles"), and as downloadable content for Activision's DJ Hero ("Wolfgang's 5th Symphony"). His music has also been featured in the TV shows Teen Wolf ("Illmerica") and The Secret Circle ("Get Em"), and in the movie Limitless ("Hook Shot").

Gartner was nominated for four International Dance Music Awards in January 2011, including Best Electro/Tech House Track, Best Progressive Track, Best Breakthrough DJ and Best Breakthrough Artist.^[7] That same month Gartner announced a new video for the single Illmerica.^[8] Forever, a collaboration with will.i.am, was released on April 12, 2011. The music video received regular rotation on MTV UK, MuchMusic (Canada), and AMtv in the USA. The single received virtually no commercial radio airplay in America, while reaching A-List rotation on BBC Radio 1 in the UK.

DJ Career[link]

Gartner has performed at a number of music festivals including Coachella 2010, Electric Daisy Carnival 2010 and 2011, Ultra Music Festival 2010, 2011, and 2012, Parklife (Australia) 2011, Creamfields (UK) 2011 and tours extensively around the world. In 2010, Gartner debuted as a featured guest on BBC Radio 1's Essential Mix series, hosted by DJ/producer Pete Tong.^[9] He is ranked #7 in the "America's Best DJ" poll and #56 in the "DJ Mag Top 100" poll.

Discography[link]

Albums[link]

2011[link]

• Weekend in America

Singles & EPs[link]

2007[link]

• Shapes EP

2008[link]

• Candy EP
• Play Dub
• Hot For Teacher EP
• Killer / Flam Mode
• Montezuma / Frenetica
• Bounce / Get It
• Emergency
• Hook Shot
• Flashback (feat. MC Flipside)

2009[link]

• Montezuma – Remixes
• Yin / Yang (with Francis Preve)
• Push & Rise
• Wolfgang's 5th Symphony / Grey Agenda
• Fire Power / Latin Fever

2010[link]

• Undertaker
• Conscindo (with Mark Knight)
• Animal Rights (with Deadmau5) (UK chart peak: #72)^[10]
• Illmerica (UK chart peak: #158)^[11]
• Space Junk