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The studio system was a means of film production and distribution dominant in Hollywood from the early 1920s through the early 1960s. The term studio system refers to the practice of large motion picture studios (a) producing movies primarily on their own filmmaking lots with creative personnel under often long-term contract and (b) pursuing vertical integration through ownership or effective control of distributors and movie theaters, guaranteeing additional sales of films through manipulative booking techniques. A 1948 Supreme Court ruling against those distribution and exhibition practices hastened the end of the studio system. In 1954, the last of the operational links between a major production studio and theater chain was broken and the era of the studio system was officially over. The period stretching from the introduction of sound to the court ruling and the beginning of the studio breakups, 1927/29–1948/49, is commonly known as the Golden Age of Hollywood.

During the Golden Age, eight companies constituted the so-called major studios that promulgated the Hollywood studio system. Of these eight, five were fully integrated conglomerates, combining ownership of a production studio, distribution division, and substantial theater chain, and contracting with performers and filmmaking personnel: Fox Film Corporation (later 20th Century-Fox), Loew’s Incorporated (owner of America's largest theater circuit and parent company to Metro-Goldwyn-Mayer), Paramount Pictures, RKO Radio Pictures, and Warner Bros. Two majors—Universal Pictures and Columbia Pictures—were similarly organized, though they never owned more than small theater circuits. The eighth of the Golden Age majors, United Artists, owned a few theaters and had access to two production facilities owned by members of its controlling partnership group, but it functioned primarily as a backer-distributor, loaning money to independent producers and releasing their films.

Sound and the Big Five[link]

The years 1927 and 1928 are generally seen as the beginning of Hollywood's Golden Age and the final major steps in establishing studio system control of the American film business. The success of 1927's The Jazz Singer, the first feature-length "talkie" (in fact, the majority of its scenes did not have live-recorded sound) gave a big boost to the then midsized Warner Bros. studio. The following year saw both the general introduction of sound throughout the industry and two more smashes for Warners: The Singing Fool, The Jazz Singer's even more profitable follow-up, and Hollywood's first "all-talking" feature, Lights of New York. Just as significant were a number of offscreen developments. Warner Bros., now flush with income, acquired the extensive Stanley theater chain in September 1928. One month later, it purchased a controlling interest in the First National production company, more prominent than Warners itself not long before. With the First National acquisition came not only a 135-acre (0.55 km²) studio and backlot but another large string of movie theaters. Warners had hit the big time.

The last of the "Big Five" Hollywood conglomerates of the Golden Age emerged in 1928: RKO. The Radio Corporation of America (RCA), led by David Sarnoff, was looking for ways to exploit the cinema sound patents, newly trademarked RCA Photophone, owned by its parent company, General Electric. As the leading film production companies were all preparing to sign exclusive agreements with Western Electric for their technology, RCA got into the movie business itself. In January, General Electric acquired a sizable interest in Film Booking Offices of America (FBO), a distributor and small production company owned by Joseph P. Kennedy, father of the future president. In October, through a set of stock transfers, RCA gained control of both FBO and the Keith-Albee-Orpheum theater chain; merging them into a single venture, it created the Radio-Keith-Orpheum Corporation, Sarnoff chairing the board. With RKO and Warner Bros. (soon to become Warner Bros.–First National) joining Fox, Paramount, and Loew's/MGM as major players, the Big Five that would rule Hollywood—and thus much of world cinema—for decades to follow were now complete.

Reign of the majors[link]

The ranking of the Big Five in terms of profitability (closely related to market share) was largely consistent during the Golden Age: MGM was number one eleven years running, 1931–41. Paramount, the most profitable studio of the early sound era (1928–30), faded for the better part of the subsequent decade, and Fox was number two for most of MGM's reign. Paramount began a steady climb in 1940, finally edging past MGM two years later; from then until its reorganization in 1949 it was again the most financially successful of the Big Five. With the exception of 1932—when all the companies but MGM lost money, and RKO lost somewhat less than its competitors—RKO was next to last or (usually) last every year of the Golden Age, with Warners generally hanging alongside at the back of the pack. Of the smaller majors, the Little Three, United Artists reliably held up the rear, with Columbia strongest in the 1930s and Universal ahead for most of the 1940s.^[1]

The end of the system and the death of RKO[link]

One of the techniques used to support the studio system was block booking, a system of selling multiple films to a theater as a unit. Such a unit—five films was the standard practice for most of the 1940s—typically included only one particularly attractive film, the rest a mix of A-budget pictures of dubious quality and B movies.^[2] As Life magazine wrote in 1957 in a retrospective on the studio system, "It wasn't good entertainment and it wasn't art, and most of the movies produced had a uniform mediocrity, but they were also uniformly profitable ... The million-dollar mediocrity was the very backbone of Hollywood."^[3] On May 4, 1948, in a federal antitrust suit known as the Paramount case brought against the entire Big Five, the U.S. Supreme Court specifically outlawed block booking. Holding that the conglomerates were indeed in violation of antitrust, the justices refrained from making a final decision as to how that fault should be remedied, but the case was sent back to the lower court from which it had come with language that suggested divorcement—the complete separation of exhibition interests from producer-distributor operations—was the answer. The Big Five, though, seemed united in their determination to fight on and drag out legal proceedings for years as they had already proven adept at—after all, the Paramount suit had originally been filed on July 20, 1938.

However, behind the scenes at RKO, long the financially shakiest of the conglomerates, the court ruling was being looked at as something that could be turned to the studio's advantage. The same month that the decision was handed down, movie-crazy multimillionaire Howard Hughes had acquired a controlling interest in the company. As RKO controlled the fewest theaters of any of the Big Five, Hughes decided that starting a divorcement domino effect could actually help put his studio on a more equal footing with his competitors. Hughes signaled his willingness to the federal government to enter into a consent decree obliging the breakup of his movie business. Under the agreement, Hughes would split his studio into two entities, RKO Pictures Corporation and RKO Theatres Corporation, and commit to selling off his stake in one or the other by a certain date. Hughes's decision to concede to divorcement terminally undermined the argument by lawyers for the rest of the Big Five that such breakups were unfeasible. While many today point to the May court ruling, it is actually Hughes's agreement with the federal government—signed November 8, 1948—that was truly the death knell for the Golden Age of Hollywood. Paramount soon capitulated, entering into a similar consent decree the following February. The studio, which had fought against divorcement for so long, became the first of the majors to break up, ahead of schedule, finalizing divestiture on December 31, 1949. The Golden Age was over. Through Hughes's deal with the federal authorities, and those by the other studios that soon followed, the studio system lingered on for another half-decade. The major studio that adapted to the new circumstances with the most immediate success was the smallest, United Artists; under a new management team that took over in 1951, overhead was cut by terminating its lease arrangement with the Pickford-Fairbanks production facility and new relationships with independent producers, now often involving direct investment, were forged—a business model that Hollywood would increasingly emulate in coming years. The studio system around which the industry had been organized for three decades finally expired in 1954, when Loew's, the last holdout, severed all operational ties with MGM.

Hughes's gambit helped break the studio system, but it did little for RKO. His disruptive leadership—coupled with the draining away of audiences to television that was affecting the entire industry—took a toll on the studio that was evident to Hollywood observers. When Hughes sought to bail out of his RKO interest in 1952, he had to turn to a Chicago-based syndicate led by shady dealers without motion picture experience. The deal fell through, so Hughes was back in charge when the RKO theater chain was finally sold off as mandated in 1953. That year, General Tire and Rubber Company, which was expanding its small, decade-old broadcasting division, approached Hughes concerning the availability of RKO's film library for programming. Hughes acquired near-complete ownership of RKO Pictures in December 1954 and consummated a sale with General Tire for the entire studio the following summer. The new owners quickly made some of their money back by selling the TV rights for the library they treasured to C&C Television Corp., a beverage company subsidiary. (RKO retained the rights for the few TV stations General Tire had brought along.) Under the deal, the films were stripped of their RKO identity before being sent by C&C to local stations; the famous opening logo, with its globe and radio tower, was removed, as were the studio's other trademarks. Back in Hollywood, RKO's new owners were encountering little success in the moviemaking business and by 1957 the gig was up. The tiremen shut down production and unloaded the main RKO facilities, which were purchased by Lucille Ball and Desi Arnaz's company, Desilu. Just like United Artists, the studio now no longer had a studio; unlike UA, it barely owned its old movies and saw no profit in the making of new ones. In 1959 it abandoned the movie business entirely.

The studio system in Europe and Asia[link]

While the studio system is largely identified as an American phenomenon, film production companies in other countries did at times achieve and maintain full integration in a manner similar to Hollywood's Big Five. As historian James Chapman describes,

In Britain, only two companies ever achieved full vertical integration (the Rank Organization and the Associated British Picture Corporation). Other countries where some level of vertical integration occurred were Germany during the 1920s (Universum Film Aktiengesellschaft, or Ufa), France during the 1930s (Gaumont-Franco-Film-Aubert and Pathé-Natan) and Japan (Nikkatsu, Shochiku and Toho). In Hong Kong, Shaw Brothers adopted the studio system for its wuxia films throughout the 1950s-'60s. India, which represents perhaps the only serious rival to the U.S. film industry due to its dominance of both its own and the Asian diasporic markets, has, in contrast, never achieved any degree of vertical integration.^[4]

For instance, in 1929 nearly 75 percent of Japanese movie theaters were connected with either Nikkatsu or Shochiku, the two biggest studios at the time.^[5]

After the system[link]

Star-driven system[link]

With the death of the studio system the scale of both box office successes and flops grew, with a "dangerous middle" consisting of films that in the previous era would have made money. A filmmaker stated in 1957 that "[t]he one absolute disaster today is to make a million-dollar mediocrity. One of those you can lose not only your total investment but your total shirt." By that year Hollywood was only making about 300 full-length films a year, compared to about 700 during the 1920s. Most leading studio heads such as Darryl Zanuck of 20th Century Fox and Louis B. Mayer of MGM were gone. Only Harry Cohn of Columbia remained, and he wrote in the studio's annual report to investors that^[3]

We find ourselves in a highly competitive market for [stars, directors, producers, writers]. Under today's tax structures, salary to those we are dealing with is less inviting than the opportunity for capital gains. We find ourselves, therefore, dealing with corporations rather than with individuals. We find ourselves, too, forced to deal in terms of a percentage of the film's profits, rather than in a guaranteed salary as in the past. This is most notable among the top stars.^[3]

Financiers increasingly demanded star actors, directors, and writers for projects to reduce risk of failure. The growing importance of the overseas market—40 to 50% of Hollywood's total revenue by 1957—also emphasized stars' names as box-office attractions. With their new power, "working for nothing"—receiving a percentage of profit instead of a salary—became a status symbol for stars. A top actor could expect 50% of profit, with a minimum guarantee, or 10% of gross revenue. Cary Grant, for example, received more than $700,000 from his 10% of the gross for To Catch a Thief (1955), while director and producer Alfred Hitchcock received less than $50,000. In one extreme case, Paramount promised Marlon Brando 75% of the profit of what became One-Eyed Jacks (1961). (Because of Hollywood accounting, the studio still received much of the revenue before any profit-sharing began; thus, they preferred 50% of profit to 10% of gross.) The larger paychecks also increased the power of talent agents such as Lew Wasserman of MCA, whose office was now called "Fort Knox".^[3]

By 1957 independent producers such as Hal Wallis made 50% of full-length American films. Beyond working for others, top actors such as Gregory Peck and Frank Sinatra created their own production companies and purchased scripts. Top independent directors like George Stevens, Billy Wilder, and William Wyler also saw their paychecks increase, in part because their involvement attracted star actors. Studios increasingly provided funding and facilities to independent producers as opposed to making their own films, or like United Artists focused on distribution. While television had damaged Hollywood, TV production companies like Desilu and the film studios' own TV divisions helped save the industry by using otherwise-unused facilities.^[3]

Syndication, television, recession, and conglomerate Hollywood[link]

At the beginning of the 1960s the major studios began to reissue older films for syndication and transformed in to mainly producing telefilms and b-movies to supply TV's demand for programming.^[6] Between 1969 to 1971 the industry underwent a severe recession and suffered a loss of confidence felt industry wide, due in part to youth-marketed art cinema and big-budget flops. The onset of Steven Spielberg's Jaws and especially George Lucas's Star Wars became the prototype for the modern blockbuster.^[7] Hollywood's recovery began in the 1980s with mega-hits such as the sequels to Lucas's Star Wars, The Empire Strikes Back and Return of the Jedi, Spielberg's back-to-back successes with Raiders of the Lost Ark and E.T. The Extra Terrestrial, and the development of home-video and cable television. From 1990 to 1995, New Hollywood turned into more of a conglomerate Hollywood and quickly dominating the global entertainment industry.^[8] As of 2007, five of the Golden Age majors continue to exist as major Hollywood studio entities, each as part of a larger media conglomerate: Columbia (owned by Sony), 20th Century Fox (owned by News Corporation), Warner Bros. (owned by Time Warner), Paramount (owned by Viacom), and Universal (owned by Comcast/NBC Universal). In addition, The Walt Disney Company's Buena Vista Motion Pictures Group has emerged as a major, resulting in a "Big Six." With the exception of Disney, all of these so-called major studios are essentially based on the model not of the classic Big Five, but of the old United Artists: that is, they are primarily backer-distributors (and physical studio leasers) rather than actual production companies.

Sony, in addition to ownership of Columbia, also has effective control of the relatively small latter-day incarnation of MGM and its subsidiary UA; under the Sony umbrella, MGM/UA operates as a "mini-major," nominally independent of but closely associated with Columbia. In 1996, Time Warner acquired the once-independent New Line Cinema via its purchase of Turner Broadcasting System. In 2008, New Line was merged into Warner Bros., where it continues to exist as a subsidiary. Each of today's Big Six controls quasi-independent "arthouse" divisions, such as Paramount Vantage and Disney's Miramax Films (which originally was an independent studio). Most also have divisions that focus on genre movies, B movies either literally by virtue of their low budgets, or spiritually—for instance, Sony's Screen Gems and Buena Vista's Hollywood Pictures brand. One so-called indie division, Universal's Focus Features, releases arthouse films under that primary brand. Both Focus and Fox's arthouse division, Fox Searchlight, are large enough to qualify as mini-majors. Two large independent firms also qualify as mini-majors, Lionsgate and The Weinstein Company. They stand somewhere between latter-day versions of the old "major-minor"—like Columbia and Universal in the 1930s and 1940s, except Lionsgate and The W.C. have about half their market share—and leading Golden Age independent production outfits like Samuel Goldwyn Inc. and the companies of David O. Selznick.

See also[link]

• Filmmaking

References[link]

Sources[link]

Published[link]

• Bergan, Ronald (1986). The United Artists Story (New York: Crown). ISBN 0-517-56100-X
• Chapman, James (2003). Cinemas of the World: Film and Society from 1895 to the Present (London: Reaktion Books). ISBN 1-86189-162-8
• Finler, Joel W. (1988). The Hollywood Story (New York: Crown). ISBN 0-517-56576-5
• Goodwin, Doris Kearns (1987). The Fitzgeralds and the Kennedys (New York: Simon and Schuster). ISBN 0-671-23108-1
• Hirschhorn, Clive (1979). The Warner Bros. Story (New York: Crown). ISBN 0-517-53834-2
• Jewell, Richard B., with Vernon Harbin (1982). The RKO Story (New York: Arlington House/Crown). ISBN 0-517-54656-6
• Orbach, Barak Y. (2004). "Antitrust and Pricing in the Motion Picture Industry," Yale Journal on Regulation vol. 21, no. 2, summer (available online).
• Schatz, Thomas (1998 [1988]). The Genius of the System: Hollywood Filmmaking in the Studio Era (London: Faber and Faber). ISBN 0-571-19596-2
• Schatz, Thomas (1999 [1997]). Boom and Bust: American Cinema in the 1940s (Berkeley, Los Angeles, and London: University of California Press). ISBN 0-520-22130-3
• Utterson, Andrew (2005). Technology and Culture—The Film Reader (Oxford and New York: Routledge/Taylor & Francis). ISBN 0-415-31984-6

Online[link]

Authored[link]

• Brand, Paul (2005). "'Nice Town. I'll Take It': Howard Hughes Revisited", Bright Lights Film Journal 47, February.
• Freiberg, Freda (2000). "Comprehensive Connections: The Film Industry, the Theatre and the State in the Early Japanese Cinema", Screening the Past 11, November 1.

Archival[link]

• The Hollywood Antitrust Case, aka The Paramount Antitrust Case detailed history from the Society of Independent Motion Picture Producers research archive.

System of a Down
System of a Down at Download Festival On June 12, 2005.
Background information
Also known as	Soil (1992–1994) SOAD System
Origin	Los Angeles, US
Genres	Alternative metal, progressive rock, hard rock, experimental
Years active	1994–2006, 2011–present
Labels	Sony Music, American, Columbia
Associated acts	Achozen, Axis of Justice, George Clinton and His Gangsters of Love, Scars on Broadway, Serj Tankian and The F.C.C., The Apex Theory
Website	www.systemofadown.com
Members
Daron Malakian Serj Tankian Shavo Odadjian John Dolmayan
Past members
Ontronik Khachaturian

System of a Down, also known by the acronym SOAD and often shortened to System, is a rock band from Southern California, formed in 1994. It consists of Serj Tankian (lead vocals, keyboards, rhythm guitar), Daron Malakian (guitar, vocals), Shavo Odadjian (bass, background vocals) and John Dolmayan (drums).

The band achieved commercial success with the release of five studio albums; from which three debuted at number one on the Billboard 200. System of a Down has been nominated for four Grammy Awards, and won the award in 2006 for Best Hard Rock Performance for the song "B.Y.O.B.". The group went on hiatus in August 2006, but reunited in November 2010, embarking on a worldwide tour in 2011.

History[link]

Soil (1992–1994)[link]

Serj Tankian, Daron Malakian, and Shavo Odadjian all attended Rose and Alex Pilibos Armenian School while children, although because of their eight-year age difference they did not meet until 1992 while working on separate projects at the same recording studio.^[1] They formed a band named Soil with Tankian on vocals and keyboards, Malakian on vocals and guitar, Dave Hakopyan (who later played in The Apex Theory/Mt. Helium) on bass and Domingo "Dingo" Laranio on drums. The band hired Shavo Odadjian (another Rose and Alex Pilibos alumnus) as manager, although he eventually joined Soil as rhythm guitarist. After three years, only one live show, and one jam session recording, Hakopyan and Laranio quit the band, feeling that it was not going anywhere.

Demo tapes and signing (1994–1997)[link]

After Soil split up, Tankian, Odadjian, and Malakian formed a new band, System of a Down. The group took its name from a poem that Malakian had written titled “Victims of the Down."^[2] The word "victims" was changed to "system" because Odadjian believed that the alteration would appeal to a much wider audience and also because the group wanted their records to be alphabetically shelved closer to their musical heroes, Slayer. Odadjian switched from guitar to bass and passed on his managerial duties to Velvet Hammer Music and Management Group and its founder David “Beno” Benveniste.^{[citation needed]} The band recruited drummer Ontronik "Andy" Khachaturian, an old school friend of Malakian's and Odadjian's who had played with Malakian in a band called Snowblind during their teens.^[2]

System of a Down quickly made what is known as Untitled 1995 Demo Tape, which was not commercially released but appeared on file sharing networks around the time of the band's success with Toxicity about six years later. Demo Tape 2 was released in 1996. At the beginning of 1997, System of a Down recorded their final publicly released demo tape, Demo Tape 3. In mid 1997, drummer Khachaturian left the band because of a hand injury (he subsequently co-founded The Apex Theory, which included former Soil bassist Dave Hakopyan).^[2] Khachaturian was replaced by John Dolmayan.

The band's first official release of a professionally recorded song was on a collection called Hye Enk ("we're Armenian" in English), an Armenian Genocide recognition compilation, in 1997. Soon after playing at notable Hollywood clubs such as the Whisky-A-Go-Go and Viper Room the band caught famed producer Rick Rubin's attention who asked them to keep in touch with him. Showing great interest, the group recorded Demo Tape 4 near the end of 1997. Unlike the previous demo tapes, however, Demo Tape 4 was made only to be sent to record companies (although it has since been leaked onto the internet). Rubin signed the group onto his American/Columbia Records, and System of a Down began to record in Rubin's studio, laying down tracks that would eventually be released on their debut album.

Also in 1997, the group won the Best Signed Band Award from the Rock City Awards.^[3]

Debut album (1998–2000)[link]

In June 1998, System of a Down released their debut album, System of a Down. They enjoyed moderate success as their first singles "Sugar" and "Spiders" became radio favorites and the music videos for both songs were frequently aired on MTV. After the release of the album, the band toured extensively, opening for Slayer and Metallica before making their way to the second stage of Ozzfest. Following Ozzfest, they toured with Fear Factory and Incubus before headlining the Sno-Core Tour with Puya, Mr. Bungle, The Cat and Incubus providing support.

In November 1998, System of a Down appeared on South Park's Chef Aid album, providing the music for the song "Will They Die 4 You?" Near the end of the song Tankian can be heard saying, "Why must we kill our own kind?" a line that would later be used in the song "Boom!" Although System of a Down is credited on the album, South Park character Chef doesn't introduce them as he does for all other artist featured on the record.

System of a Down's former drummer, Ontronik Khachaturian, briefly reunited with the band at a show at The Troubadour in 1999, filling in on vocals for an ill Tankian.^[2] In 2000, the band contributed their cover of the Black Sabbath song "Snowblind" to the Black Sabbath tribute album Nativity in Black 2.

[edit] Toxicity and Steal This Album! (2001–2003)

Guitarist Daron Malakian met Serj Tankian for the first time in 1993 before forming the band a year later.

On September 3, 2001, System of a Down had planned on launching their second album at a free concert in Hollywood as a "thank you" to fans. The concert, which was to be held in a parking lot, was set up to accommodate 3,500 people, however, an estimated 7,000 to 10,000 fans showed up. Because of the large excess number of fans the performance was cancelled by police officers just before the group took the stage. No announcement was made that the concert had been cancelled. Fans waited for more than an hour for the group to appear, but when a banner hanging at the back of the stage that read "System of a Down" was removed by security, the audience rushed the stage, destroying all the band's touring gear (approximately $30,000 worth of equipment) and began to riot, throwing rocks at police, breaking windows, and knocking over portable toilets. The riot lasted six hours, during which six arrests were made. The band's manager, David "Beno" Benveniste, later said that the riot could have been avoided if the group had been permitted to perform or had they been allowed to make a statement at the concert regarding the cancellation. System of a Down's scheduled in-store performance the next day was cancelled to prevent a similar riot.^[4]

The group's big break arrived when their second album Toxicity debuted at No.1 on the American and Canadian charts, despite the events of September 11. The album eventually achieved multi-platinum certification^{[citation needed]} and has since sold over 12 million copies worldwide.^{[citation needed]} It was still on top in America during the week of the September 11, 2001 attacks and the political environment caused by the attacks added to the controversy surrounding the album's hit single "Chop Suey!" The song was taken off the radio as it contained politically sensitive lyrics at the time such as "(I don't think you) trust in my self-righteous suicide." Regardless, the video gained constant play on MTV as did the album's second single, "Toxicity". Even with the controversy surrounding "Chop Suey!" (which earned a Grammy nomination), System of a Down still received constant airplay in the United States throughout late 2001 and 2002 with "Toxicity" and "Aerials". In May 2006, VH1 listed Toxicity in the No.14 slot in the 40 Greatest Metal Songs.

In 2001, the band went on tour with Slipknot throughout the United States and Mexico. Following a performance in Grand Rapids, Michigan, Odadjian was harassed, ethnically intimidated, and was physically assaulted by security guards backstage, who then dragged him out of the venue. Odadjian received medical attention from police and later filed a suit against the security company.^[5] Despite the incident, the tour was a success and System of a Down and Slipknot went on the Pledge of Allegiance Tour with Rammstein in 2001.

In late 2001, unreleased tracks from the Toxicity sessions made their way onto the internet.^[6] This collection of tracks was dubbed Toxicity II by fans. The group released a statement that the tracks were unfinished material and subsequently released the final versions of the songs as their third album, Steal This Album!, which was released in November 2002. Steal This Album! resembled a burnable CD that was marked with a felt-tip marker. 50,000 special copies of the album with different CD designs were also released, each designed by a different member of the band. The name of the album is a reference to Abbie Hoffman's counter-culture book, Steal This Book as well as a message to those who leaked the songs onto the internet. The song "Innervision" was released as a promo single and received constant airplay on alternative radio. A video for "Boom!" was filmed with director Michael Moore as a protest against the War in Iraq.

[edit] Mezmerize and Hypnotize (2004–2006)

Serj Tankian has gained reputation for his large vocal range along with his unusual vocal tactics.

Between 2004 to 2005, the group recorded the follow-up to Steal This Album!, a double album, which they released as separate installments six months apart from each other, notably including album cover artwork by Malakian's father, Vartan Malakian, which was designed to connect the two separate album covers. The first album, Mezmerize, was released on May 17, 2005 to favorable reviews by critics. It debuted at No.1 in the United States, Canada, Australia and all around the world, making it System of A Down's second No.1 album. First week sales rocketed to over 800,000 copies worldwide. The Grammy Award-winning single "B.Y.O.B.", which questions the integrity of military recruiting in America, worked its way up the Billboard Modern Rock and Mainstream Rock charts. The next single, "Question!" was released with Shavo Odadjian co-directing the music video. Following the release of Mezmerize, the band toured extensively throughout the United States and Canada with The Mars Volta and Bad Acid Trip supporting.

The second part of the double album, Hypnotize, was released on November 22, 2005. Like Mezmerize, it debuted at No.1 in the US, making System of a Down, along with The Beatles, Guns 'N Roses, and rappers 2Pac and DMX, the only artists to ever have two studio albums debut at No.1 in the same year.^[7] In February 2006, System of a Down won the Grammy for Best Hard Rock Performance for "B.Y.O.B.", beating out other established artists such as Nine Inch Nails and Robert Plant. Their second single off the Hypnotize album, "Lonely Day" was released in March in the United States. System of a Down released "Kill Rock 'N Roll" and "Vicinity of Obscenity" as their next promo singles. The band headlined Ozzfest 2006 in cities where tour founder Ozzy Osbourne opted not to appear or wasn't playing on the main stage.

Whereas on System of a Down's previous albums most of the lyrics were written and sung by Tankian and the music was co-written by Tankian and Malakian (and sometimes Odadjian) much of the music and lyrics on Mezmerize/Hypnotize were written by Malakian who also took on a much more dominant role as vocalist on both albums, often leaving Tankian providing keyboards and backing vocals.

Concert footage and interviews with the band concerning the importance of helping create awareness and recognition of the Armenian Genocide were featured in the 2006 film Screamers, directed by Carla Garapedian. An interview with Tankian's grandfather, a survivor of the Genocide, was also included in the film as well as Tankian's and Dolmayan's meeting with (then) Speaker of the House Dennis Hastert during which the two musicians campaigned for the United States government's official recognition of the Genocide. Footage of Tankian and Dolmayan marching with protesters outside of the Turkish embassy in Washington D.C. was also used in Screamers.

System of a Down was honored at a University of Southern California game at the Los Angeles Coliseum in Los Angeles, California in 2006. The Trojan Marching Band, along with Dolmayan and Odadjian, performed three System of a Down songs: "Toxicity," "Sugar," and "Hypnotize." System of a Down's song "Lonely Day" was nominated for Best Hard Rock Performance in the 49th Grammy Awards in 2007, but lost to "Woman" by Wolfmother.

In May 2006, the band announced they were going on hiatus. Malakian confirmed the break would probably last a few years, which Odadjian specified as a minimum of three years in an interview with Guitar magazine. He told MTV, "We're not breaking up. If that was the case, we wouldn't be doing this Ozzfest. We're going to take a very long break after Ozzfest and do our own things. We've done System for over ten years, and I think it's healthy to take some rest."^[8]

May 2006 also saw the UK publication of a biography of the band entitled System Of A Down: Right Here In Hollywood by writer Ben Myers. It was published in the US in 2007 through The Disinformation Company.

Hiatus (2006–2010)[link]

Malakian announced he was forming a band called Scars on Broadway, which was joined by Dolmayan. System of a Down's final performance before their hiatus took place on August 13, 2006 in West Palm Beach, Florida. "Tonight will be the last show we play for a long time together," Malakian told the crowd during Sunday's last performance. "We'll be back. We just don't know when."^[9]

Tankian released his debut solo album Elect the Dead in the autumn of 2007 to great critical and commercial acclaim. Malakian and Dolmayan released Scars On Broadway's debut self-titled album on July 29, 2008. Dolmayan, alongside working with Scars on Broadway, formed his own band, Indicator, as well as opened Torpedo Comics, an online comic book store.^[10] Odadjian pursued his project with RZA of Wu-Tang Clan, a hip-hop group named AcHoZeN, worked on his urSESSION website/record label, and performed as a member of funk legend George Clinton's backing band.

Reunion and tour (2011–present)[link]

On November 29, 2010, following several weeks of internet rumors, System of a Down officially announced that they would be reuniting for a string of large European festival dates in June 2011.^[11] Among the announced tour dates included UK's Download Festival, Switzerland's Greenfield Festival, Germany's Rock am Ring/Rock im Park, Sweden's Metaltown, Austria's Nova Rock Festival and Finland's Provinssirock. In their reunion statement posted on their website, the band was unclear as to the extent of their reformation. It read, "We have no master plan of sorts – we are playing these shows simply because we want to play together again as a band and for you, our amazing fans."^[12] On March 1, 2011 the band announced they will play several shows in western North America in May and June. The reunion tour commenced on May 10, 2011 in Edmonton, Alberta.^[13] On May 4, 2011, Brazil event organiser and promoter Roberto Medina announced that System will be headlining, alongside Guns N' Roses, his Rock in Rio 2011 festival on October 2 in Rio de Janeiro.^[14]

System's first tour through Mexico and South America began on September 28, 2011 in Mexico City, ending in Santiago, Chile on October 7, 2011.^[15] From late February to early March 2012, they will headline five dates at the Soundwave festival.^[16] This will be the band's first visit to Australia since 2005.

Asked in October 2011 whether System of a Down will record a new album, drummer John Dolmayan replied, "We're gonna take it day by day. [...] For the people who are waiting for an album — I know there's a lot of people waiting for an album; I'm waiting for an album just like they are. It's gonna happen when it's right and when we can make something that tops what we've done in the past. Because we don't really wanna rest on our laurels — where what you've done in the past is what you depend on. Well, I don't wanna do that, and I know the rest of the guys don't wanna do that. Instead of resting on our laurels, we wanna throw them away and create something new and specific for this generation that they can say that's their System of a Down."^[17]

On August 11 and 12, 2012, System will play the Heavy MTL and Heavy T.O. music festivals in Montreal and Toronto, respectively.^[18]

On April 23, 2012, it was announced on the band's website that they would do a summer tour of the eastern United States and Canada with special guests, Deftones.

Style[link]

Lyricism[link]

System of a Down's lyrics are often oblique^[19] or dadaist,^[19] and have discussed topics such as drug abuse,^[19] politics^[19][20] and sexual intercourse.^[19][20]

All four members are of Armenian descent, and are widely known for their outspoken views expressed in many of their songs confronting the Armenian Genocide of 1915 as well as the ongoing War on Terrorism.

Music[link]

The stylistic variety and level of experimentation^[21] in System of a Down's music has made it difficult to describe, but the group has, for the most part, maintained a single style throughout their body of work. This style has variously been termed alternative metal,^[22] alternative rock,^[23] art rock,^[24][25] avant-garde metal,^[26] experimental rock,^[27][28] hard rock,^[22][29] heavy metal,^[22] new prog,^[30] nu metal,^[31][32] progressive metal^[33][34] and progressive rock.^[35][36]

Malakian has stated that "We don't belong to any one scene"^[37] and that "I don't like the nu-metal drop-A 7-string guitar sound; it is not my thing, at least not yet."^[38] In interview with Mike Lancaster, he also said, "People always seem to feel the need to put us into a category, but we just don't fit into any category."^[39] According to Tankian, "As far as arrangement and everything, [our music] is pretty much pop. To me, System of a Down isn't a progressive band. [...] But it's not a typical pop project, obviously. We definitely pay attention to the music to make sure that it's not something someone's heard before."^[40]

The band has used a wide range of instruments, including electric mandolins, baritone electric guitars, acoustic guitars, ouds, sitars and twelve string guitars.^[41] According to Malakian, he would often write songs in E♭ tuning, which would later be changed to drop C tuning in order to be performed by the band.^[38] Malakian states that "For me, the drop-C tuning is right down the center. It has enough of the clarity and the crisp sound—most of our riffy stuff is done on the top two strings, anyway—but it's also thicker and ballsier."^[38]

Influences and comparison to other artists[link]

The band's influences include Middle Eastern music,^[42] Ozzy Osbourne,^[37][42] Dead Kennedys,^[43] Frank Zappa,^[44] Slayer^[42] and Van Halen.^[43] One reviewer claimed that their music encompasses different sounds, from sounding like "Fugazi playing Rush" to sometimes "tread[ing] close to Frank Zappa territory."^[35] Malakian has stated that "I'm a fan of music. I'm not necessarily a fan of any one band."^[45] Dolmayan stated "I don't think we sound like anybody else. I consider us System of a Down."^[46] Odadjian stated "You can compare us to whoever you want. I don't care. Comparisons and labels have no effect on this band. Fact is fact: We are who we are and they are who they are."^[46]

Awards and nominations[link]

System of a Down has been nominated for four Grammy Awards, of which has won one in 2006 for Best Hard Rock Performance for the song B.Y.O.B.. The band has also been nominated for several Kerrang! and MTV awards.

Grammy Awards

General

• In 2005, System of a Down won for Best Alternative Act in the Europe Music Awards
• In 2006, System of a Down won the "MTV Good Woodie Award" for their song "Question!"
• In 2006, System of a Down's song "Toxicity" was No.14 on the VH1 Top 40 Metal Songs list

Band members[link]

Occasional contributors

• Arto Tunçboyacıyan – percussion, composition (on Toxicity: "Science" and "Arto". Steal This Album!: "Bubbles" and some live concerts in 2005)^[47]
• Harry Perry – rhythm guitar (Ozzfest 2006)

Discography[link]

• System of a Down (1998)
• Toxicity (2001)
• Steal This Album! (2002)
• Mezmerize (2005)
• Hypnotize (2005)

References[link]

External links[link]

Wikimedia Commons has media related to: System of a Down

• Official website

vep:System of a Down

Serj Tankian
Serj Tankian performing in Burgas, Bulgaria in August 2010.
Background information
Native name	Սերժ Թանգեան
Birth name	Serj Tankian
Born	(1967-08-21) August 21, 1967 (age 44) Beirut, Lebanon[1]
Genres	Heavy metal, experimental, alternative metal, progressive rock, alternative rock, art rock, classical
Occupations	Musician, singer-songwriter, multi-instrumentalist, record producer, poet, political activist
Instruments	Vocal, piano, keyboards, synthesizer, sampler, theremin, guitar, bass guitar, violin, harmonica, melodica, bouzouki, dulcimer[disambiguation needed ], drums
Years active	1992–present
Labels	Serjical Strike, Reprise, American, Columbia, Axis of Justice
Associated acts	System of a Down, Axis of Justice, The F.C.C.
Website	www.serjtankian.com

Serj Tankian (Western Armenian: Սերժ Թանգեան [ˈsɛɾʒ tʰɑnˈkʰjɑn]; born August 21, 1967) is a Lebanese-born Armenian-American singer–songwriter, composer, multi-instrumentalist, playwright, record producer, poet, and political activist. He is best known as the lead vocalist, songwriter, keyboardist, and occasional live rhythm guitarist of the rock band System of a Down.

During his musical career, Tankian has released five albums with System of a Down, one with Arto Tunçboyacıyan (Serart), as well as three solo albums Elect the Dead, Imperfect Harmonies and Harakiri. A live orchestral version of Elect the Dead incorporating the Auckland Philharmonia Orchestra named Elect the Dead Symphony was released. In 2002, Tankian and Rage Against the Machine/Audioslave guitarist Tom Morello co-founded a non-profit political activist organization, Axis of Justice. Tankian also founded the music label Serjical Strike Records.

Tankian is ranked 26th in the Hit Parader's Top 100 Metal Vocalists of All Time.

On August 12, 2011, Tankian was awarded the Armenian Prime Minister's Medal for his contributions to the recognition of the Armenian Genocide and the advancement of music.^[2]

Biography[link]

Early life[link]

Tankian was born in Beirut, Lebanon on August 21, 1967.^[3] At age seven, Serj Tankian moved with his parents to Los Angeles, California.^[3] In his youth, he attended a school for Armenian-Americans, Rose and Alex Pilibos Armenian School,^[4] which was also attended by Tankian's future System of a Down bandmates Daron Malakian and Shavo Odadjian.^[5] Tankian was accepted into California State University, Northridge. This is where Tankian first began to play instruments and write songs.^[3]

Soil and System of a Down (1994–2006)[link]

The early beginnings of System of a Down lie in a band named Soil (not to be confused with the Chicago-based band SOiL) with Tankian on vocals & keyboards, Daron Malakian on vocals & lead guitar, Dave Hakopyan on bass and Domingo Loranio on drums. The band hired Shavo Odadjian as their then-manager but for him to later join as rhythm guitarist. Loriano and Hakopyan later left the band feeling that it wasn't going anywhere, leading to Soil splitting up.

After Soil split up, Tankian, Odadjian and Malakian formed a new band they called System of a Down, after a poem Malakian wrote called Victims of a Down. Their original drummer was Ontronik Khachaturian, with whom they had spent time playing with in Soil, though he was later replaced by John Dolmayan after breaking his hand shortly before a gig the band had been booked to play, giving Dolmayan the last-minute call up. The band quickly began touring the Southern California rock clubs, and began to attract a strong following.

[edit] Elect the Dead (2007–2010)

Tankian's breakthrough as a solo artist came with the release of his debut record Elect the Dead. The first singles from Elect the Dead are "The Unthinking Majority" and "Empty Walls". The music video "Feed Us" was released on the Swedish^[6] and UK^[7] MTV. Tankian appeared on MTV's You Rock The Deuce to promote Elect the Dead.^{[citation needed]} A music video was directed and filmed for every song on the record, each by unique directors. Tankian explained, "I asked each of the directors for their visual interpretation of my work. They were asked not to write treatments and that they could make whatever they liked. The results have been overwhelmingly amazing!"^[8] Some music videos were initially released exclusively to those who purchased the limited edition of Elect the Dead, while all of the music videos, except "Money", have since been publicly released on Tankian's website and YouTube channel. Some videos have alternative versions which were originally released as well, but later altered.^{[citation needed]}

Three different promo versions of the album have surfaced to the public. The instrumental promotional version, issued by Serjical Strike/Reprise Records and intended for the music and movie industry, contains instrumental versions of the twelve album tracks. Another promotional version, issued by Reprise Records and made only for individual reviewers, features the album in final master form. This promotional CD-R, which was labeled "Smart Talk" as a codename for "Serj Tankian" to prevent leaking by unauthorized persons, also indicates that the album was finalized prior to August 20, 2007 (2007-08-20).^[9] Before this a similar but undated promo, also under the name 'Smart Talk', was issued featuring the final versions of the songs, albeit not yet mastered.^{[citation needed]} Whilst the printed track list on this version is identical the released album, tracks ten and eleven are in fact juxtaposed on the promo itself.

The official tour for Elect the Dead commenced on October 12, 2007 with a show at Chicago's Vic theater. Roughly one thousand people attended the first concert. Although Tankian had stated he would not be performing any material by his former band, System of a Down, he performed "Charades" and "Blue", songs co-written by Daron Malakian, the guitarist of System of a Down. "Blue" had previously appeared on their Fourth Demo Tape in 1998, and Charades was attempted during the 2005 Mezmerize/Hypnotize sessions, but never released (although a short video clip of Tankian and Dolmayan playing the song in a recording studio was featured on "the Making of Mezmerize/Hypnotize"). Although it is originally a song restricted to piano and vocals, Tankian used his backing band, the Flying Cunts of Chaos (F.C.C.), to provide guitars, drums, and bass.^{[citation needed]} The songs "Beethoven's Cunt", Empty Walls, and Sky Is Over are available as downloadable content for Rock Band. A portion of the song "Lie Lie Lie" is currently featured in the opening title sequence of NBC's Fear Itself, a horror anthology show from the creators of Masters of Horror, and can be viewed on the show's main website.^{[citation needed]}

More recently, he sang with Les Rita Mitsouko on the song "Terminal Beauty". Also, he sang with the band Fair to Midland during a live improvisational version of their song "Walls of Jericho", from the album Fables from a Mayfly: What I Tell You Three Times Is True, which was a massive hit with fans. He often collaborates with his close friend, director Diran Noubar on various projects, including the voice-over of Noubar's Armenia, a Country Under Blockade. Noubar played some guitar on Tankian's Elect the Dead album on the track "Saving Us" and directed the music video for "Baby".

Serj Tankian performing in 2005

Tankian is also politically involved. Together with Tom Morello, he founded the organization Axis of Justice. Tankian is a New Zealand resident and has a secondary vacation dwelling there.^[10] There has been a misconception that he intends to stay in New Zealand until the Iraq War is over, but as stated in an interview, Tankian has no intention of doing so. He often speaks publicly against violence and injustice in the world. Tankian released a new song "Fears" in November 2008 exclusively in support of Amnesty International's Global Write-A-Thon.^[11]

On March 16, 2009, Serj performed with the Auckland Philharmonia Orchestra in New Zealand, an orchestral version of the album Elect the Dead. The live performance was captured in a CD/DVD titled Elect the Dead Symphony which was released on March 9, 2010.

Tankian co-wrote a musical with the American playwright Steven Sater. It is based on the Ancient Greek tragedy Prometheus Bound. It will open at the American Repertory Theater on March 14, 2011.^[12][13]

In 2009, Tankian collaborated with the band Viza (previously known as Visa) for their track "Viktor".^[14] Viza is signed to Tankian's Serjical Strike label.

On February 15, 2010, Serj Tankian released a new single, "The Charade". The song is available as a digital download on iTunes.

[edit] Imperfect Harmonies (2010–2012)

Tankian's second solo album was originally due in 2009. It is said to be more of a jazz and orchestral based sound. Said Tankian of the second album, "I'm structuring the next record kind of like a jazz orchestral. I've got a full orchestra interested, so I want this giant electric guitar in the air to be played by a full orchestra. I want the orchestra to be the electric guitar. I want to make an orchestra do what it's never done before, like a GG Allin type orchestra. Think of that."^[15] The album had the working title Music Without Borders, however, the final album title is Imperfect Harmonies. On June 23, 2010, a promo single from his upcoming album Imperfect Harmonies was released called "Borders Are". The first radio single from Imperfect Harmonies, "Left Of Center", was released on July 13, 2010. A third single, "Disowned Inc." was released on August 9, 2010. Imperfect Harmonies was released on September 21, 2010. Preceding the album's release, two contests were announced (one consisting of brainteasers related to the album/song titles, the other an art contest) in which fans could win prizes such as Tankian's autograph and merchandise. On August 22, 2010, a music video for Left Of Center was released on Tankian's MySpace account.

The premiere date for Tankian and Sater's Prometheus Bound at the American Repertory Theater is February 25, 2011. The singer has said that collaborating on the show has been a great learning experience for him. "I’ve been using a lot of my archives, a lot of different types of music that I had already put together for underscoring and what not," he said. "It’s quite diverse, from noise to jazz to electronic stuff to hip-hop songs to rock songs to cool, piano dark underscores, and that’s a whole different bag of tricks there because it’s always evolving. Unlike a film score that’s very linear and you get a scene to score for, this is something where you do another workshop and one song is gone, that underscore changes to 20 seconds and they need something else on the spot. Everything’s always changing until the show comes, so it’s quite interesting."^[16]

In January 2011 Tankian released a music video for his song Reconstructive Demonstrations from his album Imperfect Harmonies. Tankian also announced on his Facebook page, during the video's release, that a new EP entitled Imperfect Remixes would be released sometime within 2011. On February 3, Serj uploaded a photo of him singing into a microphone onto his Facebook fan page, accompanied with the description "New music video coming soon..." On March 1, Serj released Imperfect Remixes and the music video for Goodbye, a remix of Gate 21 from Imperfect Harmonies.

[edit] System of a Down reunion and Harakiri (2011-Future)

On November 29, 2010, following several weeks of internet rumors, System of a Down officially announced that they will play shows in Europe during Festivals and in North America, mostly in US. Dates are between May and July 2011.^[17] Among the announced tour dates included UK's Download Festival, Switzerland's Greenfield Festival, Germany's Rock am Ring/Rock im Park, Sweden's Metaltown, Austria's Nova Rock Festival and Finland's Provinssirock. The band gave a single concert in Olympic Sports Complex of Moscow in June 2011.^[18] In their reunion statement posted on their website, the band was unclear as to the extent of their reformation. It read, "We have no master plan of sorts—we are playing these shows simply because we want to play together again as a band and for you, our amazing fans."^[19] Dates have been announced in the official System of a Down website.

In early July 2011, Serj posted a video on YouTube showing two samples of new songs. During the video he said "next year". In multiple interviews he has stated that he has been working on a Rock record that will be released in 2011, and some side projects including jazz, electronic, and symphonic records. John Dolmayan has also confirmed the solo album, as well as confirmed that a new System album will be made^{[citation needed]}, but not for at least a year. This is due to Serj being in New Zealand as well as touring for his new album in 2012. It has been confirmed that his newest album is named Harakiri and will be released on July 10, 2012. This will be the first of 4 new albums to be released in the near future.^[20] The first single from this album is called "Figure It Out" and was released on May 1st. ^[21] Song has later appeared on Serj Tankian official YouTube channel. On May 30th, 2012, is announced that "Cornucopia" will be the second single taken from Harakiri and it will be released on June 12th.

Animal rights[link]

Tankian has taken a stance supporting animal rights. He also has become a vegetarian who has strong feelings against the establishment of industrial slaughterhouses. In an interview with PETA, he claimed his change was due to "touring and its variety of edible crap," and also he felt it was "instinctive somewhat." Furthermore, he also feels the need for respect towards 'mother earth'.^[22]

In July 2009, Serj signed a PETA petition against the slaughtering methods of chickens in KFC slaughterhouses.^[23]

The F.C.C.[link]

The F.C.C. (Flying Cunts of Chaos) was Serj's backing band when he played live up until 2009.^[24]

Final line-up

• Mario Pagliarulo  – bass, vocals
• Erwin Khachikian  – keyboards, piano, synthesizers, vocals
• Troy Zeigler  – drums, vocals
• Dan Monti  – guitar, vocals
• Jeff Mallow  – guitar, vocals (2008–present)

Past members

• Larry "Ler" LaLonde  – guitar, vocals (2007–2008)

Discography[link]

Solo

• Elect the Dead (2007)
• Imperfect Harmonies (2010)
• Harakiri (2012)
• Orca

With System of a Down

• System of a Down (1998)
• Toxicity (2001)
• Steal This Album! (2002)
• Mezmerize (2005)
• Hypnotize (2005)

With Serart

• Serart (2003)

With Buckethead and various artists

• Enter The Chicken (2005)
• Profanation (Preparation for a Coming Darkness) (2008)

With Tony Iommi

• Iommi (2000)

With Wyclef Jean

• Carnival Vol. II: Memoirs of an Immigrant (2007)

Bibliography[link]

• Cool Gardens, 2001, MTV Books
• Glaring Through Oblivion, 2011, It Books ^[25]

Awards and nominations[link]

System of a Down has been nominated for four Grammy Awards, of which has won one in 2006 for Best Hard Rock Performance for the song B.Y.O.B.. The band has also been nominated for several Kerrang! and MTV awards.

Grammy Awards

General

• In 2005, System of a Down won for Best Alternative Act in the Europe Music Awards
• In 2006, System of a Down won the "MTV Good Woodie Award" for their song "Question!"
• In 2006, System of a Down's song "Toxicity" was #14 on the VH1 Top 40 Metal Songs List

References[link]

External links[link]

• Serj Tankian's official website
• Serjical Strike official website
• Brazilian Fan Site
• System of a Down's official website
• Serj Tankian at the Internet Movie Database

Sylvia Massy is an entrepreneur, record producer, and studio engineer in the United States. Massy is perhaps best recognized for her work on 1993's Undertow, the full-length double platinum-selling debut for Los Angeles rock band Tool.

History[link]

Massy started out in San Francisco circa 1985 as producer, engineer, and mixer for Rat Music for Rat People, Vol. 3, a compilation album released on the CD Presents label. It featured several notable acts, including Adolescents, Raw Power, and Mojo Nixon, among several others. Towards the end of that decade and into the 1990s, Massy was an engineer on recordings from a diverse group of internationally-known artists, including Aerosmith, Babyface, Big Daddy Kane, The Black Crowes, Bobby Brown, Danzig, Prince, Geto Boys, Julio Iglesias, Seal, Skunk Anansie, Paula Abdul, Seigmen, and many others.

From Green Jellÿ to Tool[link]

During the early 1990s, Massy was working on a project with Green Jellÿ when one of the members of that band invited Massy to produce a fledgling band known as Tool.

Rubin and Beyond[link]

In the late 1990s, Massy connected with veteran producer Rick Rubin, for whom she engineered and mixed several projects, including Johnny Cash's album Unchained, which won a Grammy award for Best Country Album in 1997. With Rubin, she also recorded Tom Petty and the Heartbreakers, Slayer, Donovan Leitch, and System of a Down's debut album. During this time, Massy also produced many popular artists, including the Red Hot Chili Peppers, Sevendust, and Powerman 5000.

Current status[link]

Massy lives in Weed, California with spouse Greg Shivy. They own and operate RadioStar Studios out of the Weed Palace Theater, a facility that was constructed in the 1920s. They acquired the property in 2001 and operate it as a recording studio.

Works[link]

Sylvia Massy Shivy has worked with the following musicians:

• Acroma – Orbitals (Republic/Universal) (P-E-M)
• Adjacent To Nothing – self-titled (Self-Released) (P)
• Awaking State - Into The Machine - The EP (P-M)
• Air Dubai - Day Escape EP
• Animal Alpha – Pheromones (Racing Junior) (P-E-M)
• Belladonna – forthcoming album (P)
• The Blushing Gun - forthcoming EP (P-E)
• BULK - Guardian (Nordic Records)
• Casanovas – forthcoming album (Rubber Records) (P-E-M)
• The Cliks - Dirty King
• Cog – The New Normal (MGM) (P-E-M)
• Cog – Sharing Space (MGM) (P-E-M)
• Counterfist – Give up the Ghost - EP (2011)
• Cyclefly – Generation Sap (Radioactive) (P-E-M)
• The Deadlights - Self-titled
• Deftones – Escape From LA
• Econoline Crush – The Devil You Know (EMI Canada/Restless) (P-E-M)
• Five Star Iris – self-titled debut (Hooptiville Records) (P)
• Green Jellÿ – Cereal Killer (Zoo) (P-E-M) gold
• Johnny Cash – Unchained (American) (E-M)
• Lisa Haley – King Cake (P-E-M)
• Lollipop Lust Kill – My So Called Knife (Artemis)
• Lucky Lew – Beauty In Aggression (Big Noisy Records)
• Lustra – Lustra (XOFF) (P-E)
• Machines of Loving Grace – Gilt (Atlantic) (P-E-M)
• Major Parkinson - Major Parkinson (Degaton Records)
• Mankind Is Obsolete - Trapped Inside (P)
• My Glorious - Inside My Head Is A Scary Place (2011)
• One-Eyed Doll - Dirty (Kimberly Freeman Productions) (2012)
• Powerman 5000 – Tonight the Stars Revolt! (DreamWorks) (P-E) platinum
• Prince – Diamonds and Pearls (E-M)
• Red Hot Chili Peppers – Love Rollercoaster (Geffen) (P-E-M) gold
• R.E.M. – Road Movie (Warner Bros./HBO) (M)
• Savoy - Savoy Songbook Volume 1 (album) (Universal/Norway)
• Seek Irony – Blend (Israel)
• Seigmen – Metropolis (Sony/Norway)
• Seigmen – Total (Sony/Norway) (P-E-M)
• Seven Day Sonnet - Upcoming EP 2011
• Sevendust – Scream 3 (on the song "Fall")
• Seven Mary Three – Welcome Race Fans (self-released EP)
• Showbread – No Sir, Nihilism Is Not Practical (Tooth and Nail Records)
• Showbread – Age of Reptiles (Tooth and Nail Records)
• Showbread - The Fear of God (Tooth and Nail Records)
• Showbread - Who Can Know It? (Independent/Come&Live Records)
• Skunk Anansie – Paranoid & Sunburnt (One Little Indian/Epic)
• South Cry - Blue Moon (Big Sky Rock)^[1]
• Spiderbait – Tonight Alright (Universal Australia) (P-E-M)
• System of a Down – self-titled debut (American) (E)
• Tallman^{[disambiguation needed ]} – Mechanism^{[disambiguation needed ]} (Aperture) (P-E-M)
• Tom Petty and the Heartbreakers – She's the One (E-M)
• Tool – Undertow (Zoo/BMG) (P-E) 2x platinum
• Tool – Opiate (Zoo/BMG) (P-E-M) platinum
• Tripdavon – The Enlightened Operative (Oxygen Recording) (P-E-M)
• Uncledog – Face On The Floor (Upcoming EP - 2011)
• Lax'n'Busto - RELAX (Global Music)
• Klepht - Hipocondria
• The Distortion Mirrors - Circle of Wolves EP (suRRism Phonoethics) (P-E-M)
• 81db – Impressions LP (2011)
• DANTE – the rorschach manifiesto(2011)