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DANCE NETWORK FORMED BY UNIVERSAL MUSIC INTERNATIONAL TO INDENTIFY, ACQUIRE REPERTOIRE FOR WORLDWIDE EXPLOITATION

Drawing A&R, Marketing Expertise from Universal Music Companies Worldwide


LONDON, May 24, 2005 – To more effectively tap into sources of dance music and acquire potential hits in this genre for worldwide exploitation, Universal Music International (UMI) is creating a “dance network” under the wing of its London-based strategic marketing division.

Its goal will be to acquire dance-oriented tracks from independent labels and artists, and to coordinate their release and promotion through Universal Music companies worldwide. The network will comprise key A&R and marketing executives from Australia, France, Germany, Italy, the Netherlands, Sweden and the U.K.

Its members will exchange information and meet regularly to discuss local signings and records of potential interest to other UMI operating companies. Through this activity, key territories will be given the opportunity to be included upfront in the acquisition and licensing of repertoire.

The dance network was initiated by Stan Roche, Vice President, at UMI’s Universal Strategic Marketing division. The activity is being coordinated at the centre by Andrew Daw, International Marketing Manager; both he and Roche are based at UMI’s London headquarters.

Stan Roche commented, “We want to drive repertoire for Universal Music’s compilations business, particularly such key dance brands as ‘Clubland’ and ‘Future Trance,’ as well as providing hits for our compilation albums. A number of Universal Strategic Marketing divisions already include dance A&R as part of their day-to-day activities, but it’s clear that there is a role for UMI to play in assisting with cross-border coordination in this genre.”

Andrew Daw said, “This dance network will work together to identify potential one-off hit singles from the dance sector, but we will also be looking to pick up one-off novelty records which have international appeal. We are not in the business of signing album acts – these should be worked through traditional frontline repertoire channels. We want to focus on existing repertoire that can be licensed in from independent labels and artists directly.”

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