Jim Brackpool Email & Phone Number

London, Gb

London, England, United Kingdom

London, England, United Kingdom

London, United Kingdom

I direct Vice's licensing strategy for EMEA. I manage a 5 person team supporting commercial licensing activity and rights management across multiple Vice LOBs and channels throughout the region including Vice.com video, Virtue, Vice Studios, Editorial, i-D and Viceland/Vice TV.I work across all forms of copyright licensing from contributors, archive and music to programme sales, content partnerships, programme acquisitions and outgoing clip-sales.Rights touches all areas of Vice's output and I work with multiple stakeholders across the world in various parts of the business to continually improve the service we provide to colleagues in production and preserve the lifetime value of Vice's assets.

London, New York, Los Angeles

Responsible for Synchtank's Broadcaster and Producer facing products.Synchtank is a cloud-based software as a service (SaaS) platform that broadcast, film, music and TV companies use to manage their compliance, licensing and metadataRun as a subscription without commissions or CAPEX, Synchtank is highly flexible and tuned for each clientEnterprises include BT, Disney, Fox, peermusic, Red Bull, Sony, Turner and ViceSynchtank is located in London, New York and Los AngelesSign up to highly respected industry blog here: http://www.synchblog.com

London, United Kingdom

My role at BT Sport was an exciting mix of creative, commercial, strategic and operational challenges. I directed the music strategy and the sound of BT Sport through the provision of commissioning and music supervision services across marquee programming and channel branded assets. I lead strategic partnerships and creative collaborations with artists, rights holders and brands and drove BT Sport’s reputation for creative vitality and innovation by growing reciprocal relationships with key stakeholders.I negotiated all commercial and business affairs behind our big ticket deals, from broadcast and online blanket licences with PRS and PPL and direct engagements with commercial labels and publishers through to supplier contracts with 3rd party platform and tech providers. I negotiated rights assignments with composers and commercial publishers and managed a publishing arm to collect and reinvest revenue generated through performances and secondary exploitation of BT owned copyrights.Operationally, I conceived and implemented technical solutions to ensure music use across all BT Sport’s channels and digital platforms was appropriately licensed and high quality reporting was expedited to collecting societies. This was achieved through the development of internal workflows and both bespoke and off-the-peg software and systems. I managed collaboration between internal teams and 3rd party analysts to integrate licensing and reporting best practice seamlessly into the production workflows.I managed a high achieving team to deliver on this and collectively we strove to continually improve every aspect of the service we provide to our clients - BT Sport's music users.

London, United Kingdom

Music supervision, licensing and reporting for ESPN UK, America and Classic channels across Europe, Middle East and Africa.The music department at ESPN EMEA was a work in progress when I joined in March 2012. I concluded blanket licensing agreements with PRS, PPL and various international collecting societies, completed the integration of a new music reporting system with ESPN’s BMS and implemented fresh clearance and reporting workflows to align with that.I advanced the consistency and creative ambition of the UK channels’ sync activity and established proactive relations with individual production teams through pragmatism, persistence, generous creative support and good old fashioned listening and empathy.

London, United Kingdom

Music supervision and licensing of 3rd party copyrights in C4 programming.I worked across both the Music and Rights teams within Commercial Affairs at Channel 4. Within the Music team I provided music supervision for C4 commissions such as Misfits as well as licensing and creative support to 4Creative’s producers and C4 marketing teams.Within the Rights team I developed bespoke Rights IS systems and workflows and negotiated licences for stills, clips, Writers’ Guild and Equity payments in C4 programming in readiness for their secondary sales exploitation. Pursuant to this I managed C4’s Stills and Clips rate card and co-ordinated blanket licences with societies such as BECS and FOCAL.

London, United Kingdom

I pitched and wrote interviews, features and reviews for Clash Magazine, BBC Music, Yahoo Music, lineofbestfit.com, Brighton Source Magazine and Brighton Argus.

Brighton, London, Various Festivals

Weekly DJ night, club night and festival venue.

London, United Kingdom

Management Assistant for Gorillaz, The Good, The Bad & The Queen, Damon Albarn and Jamie Hewlett. I worked closely alongside designers, music producers, animators, writers and actors to ensure smooth delivery of assets to record label, PRs, merchandisers, publishers and various media platforms. This involved co-ordinating recording, mixing and mastering sessions and delivering masters; co-ordinating rehearsals, booking venues, hiring crew and equipment to budget and dealing with outgoing payments.I also supported Gorillaz’s tour manager, arranging international travel, visas, drafting itineraries, and shipping equipment and production assets. I drafted label copy, contracts and arranged buyout fees and union agreements for artists, collaborators and musicians.

Press officer for Keane, Mint Royale, Bell X1 and Lou Rhodes.

Uk

I composed and produced four singles and a Mercury short-listed album called 'I.D.S.T.' for Manchester based indie label 'Faith and Hope Records'. It's on Spotify if you want to listen to it.