Product Details
- Hardcover: 172 pages
- Publisher: Conceptual Publising (April 20 2007)
- Language: English
- BUY: www.amazon
25/05/2012
Jean Michel Jarre - The Making of "Water for Life": The Story Behind the Sahara Desert Concert
24/05/2012
Jarre AeroDream One hits iPod dock highs
5 September 2011 14:47 GMT / By Chris Hall
If you were alive in the 80s, you almost certainly have a Jean Michel Jarre album lying around your house. Lately, Jean Michel Jarre has turned his musical hands to another domestic certainty: the iPod dock.
Of course this being Jean Michel Jarre, things have to be a little different. How about 3.3 metres tall and 400kg different, along with a purported price of £350,000?
Described by the Jarre Technologies press release as "half machine, half work of art", the massive iPod dock was shown off on the Jarre stand at IFA in Berlin, so we moseyed on over to take a look.
Essentially it’s a huge version of AeroSystem One, Jarre’s £700 pillared iPod dock, but is so tall that you need a ladder to dock your iDevice.
Jarre said: "AeroSystem One is the result of my thinking and technical research and AeroDream One, launched here, its most elevated - literally - and amazing manifestation so far. It’s fantastic, but it’s no fantasy."
Okay, so it is described as a prototype, but the details also tell us that it packs in HD multi-directional sound. Unfortunately the stand was ghostly quiet when we arrived, with no sign of a single laser anywhere.
AeroPad One will set you back €499 whilst the larger AeroPad Two is an impressive €699. Both will be available from February 2012, pre-orders open now on Jarre Technologies’ website.
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| What do you think? Let us know in the comments below... |
Source: pocket-lint.
23/05/2012
Red Bull Music Academy Session Lyon : Jean Michel Jarre bluffe le public
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| Arnaud Brunet/Red Bull Content Pool |
En ouverture du festival Nuits Sonores, la Red Bull Music Academy a accueilli Jean Michel Jarre à l'Hôtel de Ville de Lyon. Le pionnier de l'électro s'est confié durant deux heures, entre anecdotes, techniques secrètes et visions musicales. Bluffant.
On ne connaît de lui que la surface : des concerts pharaoniques aux quatre coins du monde et des disques vendus à des millions d'exemplaires. Mais en ouverture du festival d'électro le plus pointu de l'Hexagone, le pionnier de la musique synthétique prend un relief particulier : avec Oxygène, paru en 1976, il a été le premier à faire passer la musique électronique d'une science expérimentale à une musique populaire.
Le premier étage est plein à craquer lorsqu'il débarque. Fans pointus, auditeurs lambda et festivaliers venus voir Théo Parrish ou MF Doom, la foule qui se presse dans le salon sait de quoi il est question : Jarre est ici pour se livrer, pour raconter les petites et les grandes histoires d'une carrière larger than life. Et c'est ce qu'il fait : « Ma rencontre avec Pierre Schaeffer a été fondamentale. On enregistrait des matières, on manipulait des bandes. Mais on ne parlait pas de musique électronique, le terme n'existait même pas ».
Lorsque Jean Michel Jarre débute, la musique électronique est encore une science obscure, chasse gardée du Groupe de Recherche Musical (GRM) réuni autour de Schaeffer. « Happiness is a sad song », une de ses créations résonne alors entre les baffles et désarçonne les fans du premier rang, habitués aux mélodies marquantes qu'il n'a pas encore inventé : « A l'époque, je n'avais pas d'argent pour acheter un Theremin, donc ce qu'on entend c'est de la scie musicale, l'instrument des clowns... », sourit-il, avant de préciser : « Sur le moment, ce morceau était un ovni. Les labels n'y comprenaient rien, c'était un truc de spécialistes
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| Arnaud Brunet/Red Bull Content Pool |
Dans ce contexte, son départ du GRM provoque un séisme. Sur les disques de Christophe ou de Patrick Juvet, il bouscule la variété française en la passant à la moulinette de ses rêves électro. Quelques mois plus tard, Oxygène est un choc : ce disque synthétique et hors formats (titres longs, absence de chant, visuel étrange...) dresse un pont entre les chercheurs du GRM et la musique populaire. « Ce disque m'a permis de connecter mon amour du son et celui de la mélodie ». Jarre invente alors le futur : « Ceux qui faisaient de la musique classique avaient des siècles d'histoire musicale derrière eux, ceux qui faisaient du rock avaient quelques décennies. Mais pour la musique électronique, il n'y avait rien, c'était nouveau ». Le soleil cogne sur la place de l'Hôtel de ville, mais Jean Michel Jarre tient l'audience en otage. Passionné et ouvert à la discussion, il explique tout. Un intérêt ravivé par Patrick Thévenin qui mène l'interview, qui connaît l'animal et sonde ses secrets.
ll y a 40 ans, Jean Michel Jarre a été un des premiers à inventer et populariser le langage électro. En un sens, ceux qui partagent aujourd'hui les scènes des Nuits Sonores (Etienne Jaumet, Theo Parrish...) lui doivent beaucoup. Après avoir répondu aux questions du public, il salue, remercie, signe quelques autographes et disparaît dans les rues de sa ville natale. Ce soir, il arpentera les scènes du festival pour voir à quoi ressemble le futur de cette musique électronique qu'il a contribué à créer. Mais seuls les chanceux réunis cet après-midi savent combien il en a rêvé, dès 1970, dans son petit studio.
Comme un avant-goût de la Red Bull Music Academy 2012 qui se tiendra dans quelques mois à New York, cette session exceptionnelle aura été l'occasion de pénétrer l'univers d'un artiste singulier. De lire entre les lignes, de lever le voile sur une carrière démesurée et de réduire la distance entre l'artiste et son public. L'histoire de la musique, version confidentielle
Source: RED BULL
Spectrasonics Artisan
Jean Michel Jarre
Perhaps it was his early exposure to street performers and jazz musicians. Maybe it was his work with Musique Concrète pioneer Pierre Schaeffer and visual artist Pierre Soulages, or his time with Karlheinz Stockhausen in Cologne. Most likely, it was an amalgam of all of these influences that molded Jean Michel Jarre into the remarkably-innovative composer and showman he is today.
A pioneer himself in the Electronic, Synth Pop, Ambient and New Age genres, Jarre was the first composer to bring electronic music into the Paris Opera House with his opera, AOR. His first 2 albums were recorded in a makeshift studio in his kitchen with two EMS synthesizers and a pair of linked Revox tape machines. For his next album, Oxygène, he added a Mellotron, an ARP2600, and a few others, and it went on to sell an estimated 12 million copies.
In an unparalleled fashion, Jean Michel creates huge outdoor spectacles that feature his music at the center of stunning light shows, laser displays, and fireworks. Holding the world record for the largest-ever audience at an outdoor event, Jarre has brought new meaning to the term, "sold-out!" From the Eiffel Tower and the Great Pyramids to extravaganzas in the Forbidden City and Tian’Anmen Square, Jarre's concerts draw live audiences of as many as 3.5 million. Over 2 BILLION followed his concerts in China on live TV.
Jarre has worked with Arthur C. Clarke, Laurie Anderson, Adrian Belew and fellow Spectrasonics artist, Marcus Miller. He provided original underscore for Jean Chapot’s "Les Granges Brûlées," Mel Gibson's debut, "Gallipoli," and the Kim Basinger's "Nine and a Half Weeks," along with the sound design for Match Télévision and Bang & Olufsen's Concept Store on the Champs-Elysées.
Apart from his musical activities, Jean Michel has led the lobby for Internet copyright legislation before the EU Parliament and is an Ambassador for UNESCO.
JMJ holds a Grammy for Instrumental Album of the Year and the prestigious “Chevalier de la Légion d’Honneur” from the French government. He has sold an estimated 80 million albums and singles.
MORE: About Jean Michel Jarre
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Jean Michel Jarre's work appears on: Bob Moog Tribute Library |
CELEBRATE BOB: Moog Factory Mural Time Lapse
To #CelebrateBob on what would have been his his 78th birthday, Moog Music commissioned a larger-than-life mural of Dr. Moog for their factory in Asheville, NC. The mural was created by local Asheville artist, Dustin Spagnola. HAPPY BIRTHDAY BOB! Love, your family at Moog.
Dustin Spagnola is a contemporary visual artist who has shown and created work in NYC, Miami, New Orleans, Richmond, Atlanta, Washington, DC and in his home, Asheville, NC. His work is often political in nature and eschews corporate advertising and graffiti culture alike.
See more of his work at dustinspagnola.com
MOOG DOODLE SYNTHESIZER
For all of you who were sleeping at midnight, you're up
for a sonically delicious morning treat. Google has posted an
interactive Moog Doodle in honor of Bob's 78th Birthday. You can play it
and record your composition! Check it out and get creative! http://www.google.com/
Source: googleblog.blogspot.se
A tribute to Bob Moog, sonic doodler
A tribute to Bob Moog, sonic doodler
May 23, 2012 at 6:00 AM
In the mid-1960s, Dr. Robert Moog unleashed a new universe of sounds into musicdom with his invention of the electronic analog Moog Synthesizer. The timbre and tones of these keyboard instruments (true works of art in and of themselves) would come to define a generation of music, featuring heavily in songs by The Beatles, The Doors, Stevie Wonder, Kraftwerk and many others.
When people hear the word "synthesizer" they often think "synthetic"—fake, manufactured, unnatural. In contrast, Bob Moog's synthesizers produce beautiful, organic and rich sounds that are, nearly 50 years later, regarded by many professional musicians as the epitome of an electronic instrument. "Synthesizer," it turns out, refers to the synthesis embedded in Moog's instruments: a network of electronic components working together to create a whole greater than the sum of the parts.
With his passion for high-tech toolmaking in the service of creativity, Bob Moog is something of a patron saint of the nerdy arts and a hero to many of us here. So for the next 24 hours on our homepage, you'll find an interactive, playable logo inspired by the instruments with which Moog brought musical performance into the electronic age. You can use your mouse or computer keyboard to control the mini-synthesizer's keys and knobs to make nearly limitless sounds. Keeping with the theme of 1960s music technology, we've patched the keyboard into a 4-track tape recorder so you can record, play back and share songs via short links or Google+.
Much like the musical machines Bob Moog created, this doodle was synthesized from a number of smaller components to form a unique instrument. When experienced with Google Chrome, sound is generated natively using the Web Audio API—a doodle first (for other browsers the Flash plugin is used). This doodle also takes advantage of JavaScript, Closure libraries, CSS3 and tools like Google Web Fonts, the Google+ API, the Google URL Shortener and App Engine.
Special thanks to engineers Reinaldo Aguiar and Rui Lopes and doodle team lead Ryan Germick for their work, as well as the Bob Moog Foundation and Moog Music for their blessing. Now give those knobs a spin and compose a tune that would make Dr. Moog smile!
Posted by Joey Hurst, Software Engineer
May 23, 2012 at 6:00 AM
In the mid-1960s, Dr. Robert Moog unleashed a new universe of sounds into musicdom with his invention of the electronic analog Moog Synthesizer. The timbre and tones of these keyboard instruments (true works of art in and of themselves) would come to define a generation of music, featuring heavily in songs by The Beatles, The Doors, Stevie Wonder, Kraftwerk and many others.
When people hear the word "synthesizer" they often think "synthetic"—fake, manufactured, unnatural. In contrast, Bob Moog's synthesizers produce beautiful, organic and rich sounds that are, nearly 50 years later, regarded by many professional musicians as the epitome of an electronic instrument. "Synthesizer," it turns out, refers to the synthesis embedded in Moog's instruments: a network of electronic components working together to create a whole greater than the sum of the parts.
With his passion for high-tech toolmaking in the service of creativity, Bob Moog is something of a patron saint of the nerdy arts and a hero to many of us here. So for the next 24 hours on our homepage, you'll find an interactive, playable logo inspired by the instruments with which Moog brought musical performance into the electronic age. You can use your mouse or computer keyboard to control the mini-synthesizer's keys and knobs to make nearly limitless sounds. Keeping with the theme of 1960s music technology, we've patched the keyboard into a 4-track tape recorder so you can record, play back and share songs via short links or Google+.
Much like the musical machines Bob Moog created, this doodle was synthesized from a number of smaller components to form a unique instrument. When experienced with Google Chrome, sound is generated natively using the Web Audio API—a doodle first (for other browsers the Flash plugin is used). This doodle also takes advantage of JavaScript, Closure libraries, CSS3 and tools like Google Web Fonts, the Google+ API, the Google URL Shortener and App Engine.
Special thanks to engineers Reinaldo Aguiar and Rui Lopes and doodle team lead Ryan Germick for their work, as well as the Bob Moog Foundation and Moog Music for their blessing. Now give those knobs a spin and compose a tune that would make Dr. Moog smile!
Posted by Joey Hurst, Software Engineer
PRESS - Jarre September 2011
Gammatek introduces the new AeroSystem One by Jarre Technologies
“The AeroSystem One is the result of four years of research and development by Jean Michel Jarre and his team of sound engineers and finally they’ve designed a speaker system that appeals both to design and music lovers,” comments Zev Cherniak of Gammatek.
The AeroSystem One incorporates an electronic signal circuit, tailor made to reproduce both the bass line and high notes with optimal precision in all numeric formats and is compatible with all iPod and iPhone models. It comes with an integrated USB 2.0 port as well as a mini-jack port offering the possibility to connect the system to a laptob, a CD/DVD player or any other smartphones and MP3 players.
The AeroSystem One also delivers a precise and enveloping sound due to its powerful box beam and two directional speakers. The system is controlled by a translucent frosted remote control which is a design object in itself and allows music lovers to pilot their AeroSystem One from afar via their iPod or iPhone.
Key features:
- Compatible with all iPod generations: iPod Touch, iPod Nano, iPod Classic
- Compatible with all iPhone generations: iPhone, iPhone 3G(S), iPhone 4
- Multiple input sources with mini-jack 3.5 mm connector:
- iPod Shuffle
- MP3 players
- Computers
- CD/DVD players
- Vinyl turn-table
- 1 USB host
- 240° Sound dispersion with built in 3D enhancement filters
- 2 x 30w full spectrum high definition tweeters
- 1 x 60w subwoofer
- Power input voltage 110 or 220 depending on your country of residence
- Dimensions: 26 x 26 x 108.5 cm
Retail Values
The Jarre AeroSystem One is available at select consumer retail and music stores nationwide and retails for approximately R7999.
About Gammatek:
Gammatek was established in South Africa in 1999 and strives to be the leading distributor of Branded Technology Accessories in Southern Africa. The company distributes products that offer an added value proposition in terms of brand value and range and is currently the sole distributors of Nitho, Swiss Charger, Gizmobies, Golla, Jabra, Idapt, Route 66, Speck, Bagmovil, Ridata, Movon, Trik, Fellowes, iFrogz, Plantronics, Imagenation, Ed Hardy and Jarre Technologies, Ozaki and Body Glove. Gammatek prides itself on timeously offering the latest accessories for all popular consumer electronic devices.
Gammatek was recently announced supplier of the year, for Vodacom 2010 and has won the Vodacom 4U supplier Excellence Award for the past five years.
Source: gammatek
21/05/2012
Charlotte Rampling - Les Mots Bleus
Charlotte Rampling sings "Les Mots Bleus", composed by Jarre in 1974 for singer Christophe. Video of 1994 french auditorium program.
Lyrics English: "The blue words"
It is six o'clock at the church's bell-tower
At the park the flowers poetize
A girl will leave the town hall
As each evening I await for her
She smiles at me
It's necessary that I speak to her
At all costs
I will tell her the blue words
The words we say with the eyes
To speak seems ridiculous to me
I throw myself and then I move back
In front of an useless sentence
Who would break the fragile moment
Of an encounter
Of an encounter
I will tell her the blue words
Those which make people happy
I will call her without naming her
I am perhaps out of fashion
The wind of winter blows in April
I love the motionless silence
Of an encounter
Of an encounter
There is no more clock, no more bell-tower
In the park the trees are lying
I return by the night train
Over the dock I see her
Who smiles at me
It's necessary that she understand
At all costs
I will tell her the blue words
The words we say with the eyes
All the excuses that we give
Are like the kisses that we steal
It remains a subtle rancor
Who would waste the fragile moment
Of our re-encounter
Of our re-encounter
I will tell her the blue words
Those which make people happy
A love story without words
Have no need for protocol
And all futile long discourses
Would somewhat tarnish the little style
Of our re-encounter
Of our re-encounter
I will tell her the blue words
Those which make people happy
I will tell her all the blue words
All those which make people happy
All the blue words
Lyrics French : "Les mots bleus"
Il est six heures au clocher de l´église
Dans le square les fleurs poétisent
Une fille va sortir de la mairie
Comme chaque soir je l´attends
Elle me sourit
Il faudrait que je lui parle
A tout prix
Je lui dirai les mots bleus
Les mots qu´on dit avec les yeux
Parler me semble ridicule
Je m´élance et puis je recule
Devant une phrase inutile
Qui briserait l´instant fragile
D´une rencontre
D´une rencontre
Je lui dirai les mots bleus
Ceux qui rendent les gens heureux
Je l´appellerai sans la nommer
Je suis peut-être démodé
Le vent d´hiver souffle en avril
J´aime le silence immobile
D´une rencontre
D´une rencontre
Il n´y a plus d´horloge, plus de clocher
Dans le square les arbres sont couchés
Je reviens par le train de nuit
Sur le quai je la vois
Qui me sourit
Il faudra bien qu´elle comprenne
A tout prix
Je lui dirai les mots bleus
Les mots qu´on dit avec les yeux
Toutes les excuses que l´on donne
Sont comme les baisers que l´on vole
Il reste une rancœur subtile
Qui gâcherait l´instant fragile
De nos retrouvailles
De nos retrouvailles
Je lui dirai les mots bleus
Ceux qui rendent les gens heureux
Une histoire d´amour sans paroles
N´a plus besoin du protocole
Et tous les longs discours futiles
Terniraient quelque peu le style
De nos retrouvailles
De nos retrouvailles
Je lui dirai les mots bleus
Les mots qu´on dit avec les yeux
Je lui dirai tous les mots bleus
Tous ceux qui rendent les gens heureux
Tous les mots bleus
Tous les mots bleus
Jean Michel Jarre - Gloria, Lonely Boy
Lyrics: Gloria
Lonely boy
For your last night
say goodbye
Gloria
never never forget
you're the star
Gloria
remember
all the splendors
of yesterday
Gloria
Oh, lonely boy
Gloria
one more time
sing for me
Gloria
Métamorphoses is an album by Jean Michel Jarre, released on Sony Music in 2000. It was released in the US on Disques Dreyfus in 2004. It is his tenth overall studio album.
This album was, to fans, a surprising break from his previous works, as it makes extensive use of vocal elements, as well as house and techno sounds. The vocal elements are not short, sampled pieces as highlighted in his album Zoolook, but longer, more integral parts of the work, and thus quite surprising for an artist known for his instrumental works. Métamorphoses is also Jarre's first album to contain actual songs with lyrics. Jarre's own voice is heard through a vocoder on many of the songs, but the album contains several other singers as well, mostly female singers. "Rendez-Vous à Paris" features Sharon Corr on violin. "Rendez-Vous à Paris" and "Bells" are the only largely instrumental tracks on the album; on the former only the track title is repeated in rhythm, the latter does not have intelligible lyrics. Although the album was generally not badly received by critics, and despite the collaborations and a number of single releases, Jarre did not achieve great mainstream success with this album.
Track listing
1. "Je Me Souviens" -- 4:25
2. "C'est la Vie" -- 7:11
3. "Rendez-Vous à Paris" -- 4:19
4. "Hey Gagarin" -- 6:20
5. "Millions of Stars" -- 5:41
6. "Tout Est Bleu" -- 6:01
7. "Love Love Love" -- 4:26
8. "Bells" -- 3:49
9. "Miss Moon" -- 6:08
10. "Give Me a Sign" -- 3:49
11. "Gloria, Lonely Boy" -- 5:31
12. "Silhouette" -- 2:29
Personnel
* Jean Michel Jarre -- vocals, processed vocals, keyboards, synthesizers
* Joachim Garraud -- drum programming, sound design, additional keyboards
* Laurie Anderson -- vocals on "Je Me Souviens"
* Natacha Atlas -- vocals on "C'est la Vie"
* Sharon Corr -- violin on "Rendez-Vous à Paris"
* Veronique Bossa -- vocals on "Give Me a Sign" and "Millions of Stars"
* Dierdre Dubois -- vocals on "Miss Moon"
* Lisa Jacobs -- vocals on "Millions of Stars"
* Ozlem Cetin -- vocals on "Silhouette"
* Christopher Papendieck -- additional bass keyboards
* Francis Rimbert -- additional keyboards
3 questions to Jean-Michel Jarre, a World Copyright Summit Keynote Speaker
World Copyright Summit
Electronic music pioneer Jean-Michel Jarre will deliver a keynote at the World Copyright Summit on Wednesday June 8 in Brussels. In this keynote discussion, the French artist will offer his views on the challenges faced by creators in the digital age.
Why did you accept CISAC’s invitation to take part in the 2011 World Copyright Summit?
Jean-Michel Jarre: For an artist like me, who has always been looking for new boundaries, the digital world has been a source of constant experimentation. It has provided me with the tools to create my music and also the structure for the concert performances. But for the author and the composer that I also am, it can be a source of great concern. If my works have the potential to be seen and listened to by an even greater audience than before, the problem we face as creators is the way that we are compensated for the use of our works. By being present at the World Copyright Summit, I want to show my enthusiasm and my optimism regarding the challenges we face with the new digital world; and also bear witness of the necessity to respect the rights of creators as a necessary condition for the renewal and financing of creation.
What are the main challenges facing creators in the new digital eco-system?
Jean-Michel Jarre: I would say that the biggest challenge is finding the right balance between the ubiquity of the availability of creative works and the respect of creators’ rights, hand in hand with compensation. I do not have ready-made answers. I want my music to travel as widely as possible. I also want to make sure that my music, alongside that of my peers, is not used to enrich venture capital firms who are backing digital services that have business models based on the premises that they do not pay for the content that they are using. In my view, and in the view of many creators, this is unfair. I also think that the system has been far too lenient towards access providers who have been selling broadband subscriptions based on the promise that the end user would have access to all the music in the world. I think it is about time they chip in and give back to the people who have allowed them to make their subscriptions attractive.
Q: What would be, according to you, the role of collective management organisations in this new eco-system?
Jean-Michel Jarre: In case you have not noticed, this digital world has become increasingly complex, with hundreds of new players who, when they are properly licensed, pay authors’ societies very small amounts from millions of transactions. I am surprised by the rather small amounts I get paid in return for extensive plays on these new services and furthermore that I value the excellent service offered to me by Sacem. I would never be able to chase these rights if I were on my own, I couldn’t control the use of my music on radio or TV. I recently played concerts in Australia and I have to rely on the local society there to collect on my behalf the rights I am owed for the use of my music in the country. I need authors’ societies to act on my behalf, and now more than ever before. And I can affirm that my author’s society constitutes the best guarantee for my economic independence and my freedom of creation.
Source: copyrightsummit.com
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). |
Electronic music pioneer Jean-Michel Jarre will deliver a keynote at the World Copyright Summit on Wednesday June 8 in Brussels. In this keynote discussion, the French artist will offer his views on the challenges faced by creators in the digital age.
Why did you accept CISAC’s invitation to take part in the 2011 World Copyright Summit?
Jean-Michel Jarre: For an artist like me, who has always been looking for new boundaries, the digital world has been a source of constant experimentation. It has provided me with the tools to create my music and also the structure for the concert performances. But for the author and the composer that I also am, it can be a source of great concern. If my works have the potential to be seen and listened to by an even greater audience than before, the problem we face as creators is the way that we are compensated for the use of our works. By being present at the World Copyright Summit, I want to show my enthusiasm and my optimism regarding the challenges we face with the new digital world; and also bear witness of the necessity to respect the rights of creators as a necessary condition for the renewal and financing of creation.
What are the main challenges facing creators in the new digital eco-system?
Jean-Michel Jarre: I would say that the biggest challenge is finding the right balance between the ubiquity of the availability of creative works and the respect of creators’ rights, hand in hand with compensation. I do not have ready-made answers. I want my music to travel as widely as possible. I also want to make sure that my music, alongside that of my peers, is not used to enrich venture capital firms who are backing digital services that have business models based on the premises that they do not pay for the content that they are using. In my view, and in the view of many creators, this is unfair. I also think that the system has been far too lenient towards access providers who have been selling broadband subscriptions based on the promise that the end user would have access to all the music in the world. I think it is about time they chip in and give back to the people who have allowed them to make their subscriptions attractive.
Q: What would be, according to you, the role of collective management organisations in this new eco-system?
Jean-Michel Jarre: In case you have not noticed, this digital world has become increasingly complex, with hundreds of new players who, when they are properly licensed, pay authors’ societies very small amounts from millions of transactions. I am surprised by the rather small amounts I get paid in return for extensive plays on these new services and furthermore that I value the excellent service offered to me by Sacem. I would never be able to chase these rights if I were on my own, I couldn’t control the use of my music on radio or TV. I recently played concerts in Australia and I have to rely on the local society there to collect on my behalf the rights I am owed for the use of my music in the country. I need authors’ societies to act on my behalf, and now more than ever before. And I can affirm that my author’s society constitutes the best guarantee for my economic independence and my freedom of creation.
Source: copyrightsummit.com
Super session - Creators’ voice - In my world…Jean Michel Jarre
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| Robin Gibb 22 December 1949 – 20 May 2012 R.I.P |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). Patrick Rackow, CEO, British Academy of Songwriters, Composers and Authors (BASCA) (UK) |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). Patrick Rackow, CEO, British Academy of Songwriters, Composers and Authors (BASCA) (UK) |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). Patrick Rackow, CEO, British Academy of Songwriters, Composers and Authors (BASCA) (UK) |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). Patrick Rackow, CEO, British Academy of Songwriters, Composers and Authors (BASCA) (UK) |
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| IPTC Caption Jean-Michel Jarre, author, composer and performer (France). Patrick Rackow, CEO, British Academy of Songwriters, Composers and Authors (BASCA) (UK) |
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| Robin Gibb & Jean-Michel Jarre during World Copyright Summit 2011 |
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| IPTC Caption Robin Gibb -Singer and songwriter, President, CISAC Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Robin Gibb -Singer and songwriter, President, CISAC Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Robin Gibb -Singer and songwriter, President, CISAC Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Robin Gibb -Singer and songwriter, President, CISAC Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Robin Gibb -Singer and songwriter, President, CISAC Jean-Michel Jarre, author, composer and performer (France). |
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| IPTC Caption Michel Barnier, Commissioner for Internal Market and Services, European Commission Jean-Michel Jarre, author, composer and performer (France). The World Copyright Summit 2011 in Brussels is an international and cross-industry event addressing the future of the creative community and the entertainment business in the digital economy. All stakeholders involved in creative industries creation, licensing, usage, collective management, legislation and dissemination of intellectual property and creative content now have a unique forum to exchange views on the value of creative works, the future of authors rights, the role of creators and their collective management organisations.A two-day conference programme addressing key themes: Create-Connect-Respect. |
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| IPTC Caption Kenth Muldin with Michel Barnier, Commissioner for Internal Market and Services, European Commission Jean-Michel Jarre, author, composer and performer (France). |
Foto: IPTC Copyright Michael Chia / CISAC 2011
Source: World Copyringht Summit
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