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Barnes & Noble
Short Case Barnes & Noble Turning the page to compete in a digital book market This case was written by Joachim Stonig (University of St. Gallen). It is intended to be used as the basis for class discussion rather than to illustrate either effective or ineffective handling of a management situation. The case was compiled from published sources. © Joachim Stonig, January 2020, Version 1.1, University of St. Gallen No part of this publication may be copied, stored, transmitted, reproduced or distributed in any form or medium whatsoever without the permission of the copyright owner. 1 In June 2019, investment firm Elliott Management announced that it would acquire Barnes & 1 Noble for about $683 million and take the company private.0F The largest U.S. book retailer had experienced a long decline over the last decade. The number of stores dropped by more than 100 since their peak in 2009, from 726 to 630 in 2018, and revenue fell by more than $2 billion in the same timeframe. James Daunt, who runs the British bookseller Waterstones since 2011, became CEO of the ailing company. James Daunt is known to be book enthusiast who believes in the cultural and emotional value of print. With the funds from Elliott and less short-term financial pressure from the stock market, he hopes to change the fortunes of Barnes & Noble. His initial assessment of the company, however, was less than flattering: “Frankly, at the moment you want to love Barnes & Noble, but when you leave the store you feel mildly betrayed. […] Not massively, but mildly. -
Digitalisation and Intermediaries in the Music Industry
CREATe Working Paper 2017/07 (June 2017) Digitalisation and intermediaries in the Music Industry Authors Morten Hviid Sabine Jacques Sofia Izquierdo Sanchez Centre for Competition Policy, Centre for Competition Policy, Department of Accountancy, Finance, University of East Anglia University of East Anglia and Economics, University of Huddersfield [email protected] [email protected] [email protected] CREATe Working Paper Series DOI:10.5281/zenodo.809949 This release was supported by the RCUK funded Centre for Copyright and New Business Models in the Creative Economy (CREATe), AHRC Grant Number AH/K000179/1. Abstract Prior to digitalisation, the vertical structure of the market for recorded music could be described as a large number of artists [composers, lyricists and musicians] supplying creative expressions to a small number of larger record labels and publishers who funded, produced, and marketed the resulting recorded music to subsequently sell these works to consumers through a fragmented retail sector. We argue that digitalisation has led to a new structure in which the retail segment has also become concentrated. Such a structure, with successive oligopolistic segments, can lead to higher consumer prices through double marginalisation. We further question whether a combination of disintermediation of the record labels function combined with “self- publishing” by artists, will lead to the demise of powerful firms in the record label segment, thus shifting market power from the record label and publisher segment to the retail segment, rather than increasing the number of segments with market power. i Table of Contents 1. Introduction ................................................................................................................................. 1 2. How the advancement of technologies shapes the music industry ................................. -
The Lovely Serendipitous Experience of the Bookshop’: a Study of UK Bookselling Practices (1997-2014)
‘The Lovely Serendipitous Experience of the Bookshop’: A Study of UK Bookselling Practices (1997-2014). Scene from Black Books, ‘Elephants and Hens’, Series 3, Episode 2 Chantal Harding, S1399926 Book and Digital Media Studies Masters Thesis, University of Leiden Fleur Praal, MA & Prof. Dr. Adriaan van der Weel 28 July 2014 Word Count: 19,300 Table of Contents Introduction .................................................................................................................................................................... 3 Chapter One: There is Value in the Model ......................................................................................................... 10 Chapter Two: Change and the Bookshop .......................................................................................................... 17 Chapter Three: From Standardised to Customised ....................................................................................... 28 Chapter Four: The Community and Convergence .......................................................................................... 44 Conclusion .................................................................................................................................................................... 51 Bibliography: ............................................................................................................................................................... 54 Archival and Primary Sources: ....................................................................................................................... -
Cheap Rolling Stones Tickets
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The History of Nipper and His Master's Voice by Erik Østergaard
The History of Nipper and His Master's Voice By Erik Østergaard Nipper and His Master's Voice - What is the story? Nipper the dog was born in Bristol in Gloucester, England in 1884 and so named because of his tendency to nip the backs of visitors' legs. When his first master Mark Barraud died destitute in Bristol in 1887, Nipper was taken to Liverpool in Lancashire, England by Mark's younger brother Francis, a painter. In Liverpool Nipper discovered the Phonograph, a cylinder recording and playing machine and Francis Barraud "often noticed how puzzled he was to make out where the voice came from". This scene must have been indelibly printed in Barraud's brain, for it was three years after Nipper died that he committed it to canvas. Nipper died in September 1895, having returned from Liverpool to live with Mark Barraud's widow in Kingston-upon-Thames in Surrey, England. Though not a thoroughbred, Nipper had plenty of bull terrier in him; he never hesitated to take on another dog in a fight, loved chasing rats and had a fondness for the pheasants in Richmond Park! In 1898 Barraud completed the painting and registered it on 11 February 1899 as "Dog looking at and listening to a Phonograph". "Dog looking at and listening to a Phonograph" Barraud then decided to rename the painting "His Master's Voice" and tried to exhibit it at the Royal Academy, but was turned down. He had no more luck trying to offer it for reproduction in magazines. "No one would know what the dog was doing" was given as the reason! Next on Barraud's list was The Edison Bell Company, leading manufacturer of the cylinder phonograph, but again without success. -
The Music Distribution Industry in Canada 2006
THE MUSIC DISTRIBUTION INDUSTRY IN CANADA 2006 BY LARRY LEBLANC FEB. 2006 This report has been prepared by Larry LeBlanc for the Canadian Association of Broadcasters (CAB). The purpose of this document is to provide a profile of the English and French-language components of distribution of the Canadian-owned label and artist sector as well as Canadian artists signed or distributed by multinationals in Canada. The report specifically discusses changes in the music distribution sector in Canada since 1998. As well, such newly emerging factors as the rise of widespread Internet-based downloading; the rise of music subscription services; and the use of ringtones, ringtunes and podcasting in affecting music sales are also discussed. The report indicates that Canadian music retail has become more consolidated and more selective with product choices. Major music retailers carry a different product mix today than a decade ago. There are fewer music CDs, and more film-related DVD and computer game product. Although radio remains a critical vehicle for the Canadian record industry, labels and retailers cite a waning impact of the medium on overall sales. The study is based on a review of existing documentation, secondary research as well as analysis and findings drawn from 11 interviews conducted by Larry LeBlanc, as the principal source of primary research. Music OVERVIEW Canada's small market size, and a sizable support infrastructure is enabling the domestic industry to develop distinct acts for audiences home and abroad. In the past three years, global markets have embraced a new wave of formidable Canadian English-language rock acts including: Arcade Fire, Broken Social Scene, Death From Above 1979, Feist, Stars, the Dears, Alexisonfire, Metric, Bedouin Soundclash, and Hot Hot Heat; as well as such French-language acts as Corneille, and Lynda Lemay. -
Award Winning Books in the Library Click+Cntrl on Title to Link to Resource A
Award Winning Books in the Library Click+cntrl on Title to Link to resource A Author Title CK: Awards and honors Subject Adventure and adventurers › Carnegie Medal (1972) Rabbits › Legends and stories Adams, Watership Down Waterstones Books of the Century 1997 Richard Survival › Guardian First Book Award Longlist Ahlberg, Boyhood of Buglar (2007) Thief Allan Bill Guardian Children's Fiction Prize Moral Conscience Longlist (2007) The Black Cauldron Alexander, Newbery Honor (1966) (The Chronicles of Fantasy Lloyd A Horn Book Fanfare Best Book (1966) Prydain) Author Title CK: Awards and honors Subject The Book of Three Alexander, A Horn Book Fanfare Best Book (1965) (The Chronicles of Fantasy Lloyd Prydain Book 1) A Horn Book Fanfare Best Book (1967) Alexander, Castle of Llyr Fantasy Lloyd Princesses › A Horn Book Fanfare Best Book (1968) Taran Wanderer (The Alexander, Fairy tales Chronicles of Lloyd Fantasy Prydain) Carnegie Medal Shortlist (2003) Whitbread (Children's Book, 2003) Boston Globe–Horn Book Award Almond, Cuban Missile Crisis, 1962 › The Fire-eaters (Fiction, 2004) David Great Britain › History Nestlé Smarties Book Prize (Gold Award, 9-11 years category, 2003) Whitbread Shortlist (Children's Book, Adventure and adventurers › Almond, 2000) Heaven Eyes Orphans › David Zilveren Zoen (2002) Runaway children › Carnegie Medal Shortlist (2000) Amateau, Chancey of the SIBA Book Award Nominee courage, Gigi Maury River Perseverance Author Title CK: Awards and honors Subject Angeli, Newbery Medal (1950) Great Britain › Fiction. › Edward III, Marguerite The Door in the Wall Lewis Carroll Shelf Award (1961) 1327-1377 De A Horn Book Fanfare Best Book (1950) Physically handicapped › Armstrong, Newbery Honor (2006) Whittington Cats › Alan Newbery Honor (1939) Humorous stories Atwater, Lewis Carroll Shelf Award (1958) Mr. -
Issues of Jussi Björling's Recordings in Analog Formats
Issues of Jussi Björling’s recordings in analog formats 78 rpm. records (78)…………………………………………… p. 2 45 rpm. records (45) …………………………………………… p. 8 33 1/3 rpm. records (LP)…………………………………….... p. 13 Open reel tapes (OR)………………………………………….. p. 44 8-track stereo cartridges (8T)………………………………… p. 45 Audio music cassettes (MC)…………………………………... p. 46 VHS video tapes (VHS)……………………………………….. p. 57 Laser discs (LD)……………………………………………….. p. 59 1 78 rpm. RECORDS Angel <Argentina> § EMI label. § 292708 [10in/25 cm. First issue of this combination: HMV DA 2039.] {?55}199, 201 Columbia <Argentina> § EMI label. § 292708 [10in/25 cm. First issue of this combination: HMV DA 2039.] {?54} 199, 201 Columbia <USA> § Acoustical records issued by the then independent US company. For other issues here in various countries, this is an EMI label. § E 4547 [10in/25 cm.] {20-05} 4, 5 ● E 4691 [10in/25 cm.] {20-09} 2, 3 E 4768 [10in/25 cm.] {20-11} 1, 6 Electrola § Issued by EMI Electrola, Berlin or (from 1952) Cologne, Germany. § DA 1548 [Red label. First issue of this combination: HMV DA 1548.] {?38} 89, 90 ● DA 1582 [10in/25cm. Red label. First issue of this combination: HMV DA 1582.] {38-04} 101, 102 ● DA 1584 [10in/25cm. Red label. First issue of this combination: HMV DA 1584.] {38-01} 96, 99 ● DA 1701 [10in/25cm, Red label. First issue of this combination: HMV DA 1701.] {?50} 120, 121 DA 1841 [10in/25cm. Red label. First issue of this combination: HMV DA 1841.] {?50} 143, 146 DA 1908 [10in/25cm. Red label. First issue of this combination: HMV DA 1908.] {?50} 161B, 162A DB 3049 [12in/30cm. -
The Complete EMI Audio Tape Guide Audio Tape Guide
The Complete EMI Audio Tape Guide By David Winter Version of 23 FEBRUARY 2014 This list contains all known EMI (His Master’s Voice and Columbia) tapes released between 1952 and the early 1960s. Any new version will contain minor fixes or updates, or unreleased titles. If you wish to contribute, please email me at [email protected] with good quality pictures showing what should be updated or added. Thank you. Change log: - New format, hopefully for better reading. Tape catalog prefixes, tape types and misc details: EMI issued their "tape records" under two brands: His Master's Voice (HMV) and Columbia (COL). They were all recorded in 2 channel format, either in mono (twin sided) or stereo (Stereosonic, single sided). They are always 7-inch reels playing at 7.5ips (or 19 centimeters per second). Only a few recordings have been made available both in mono and stereo. However, many titles have been recorded in either format by different performers. Some titles were eventually imported in America by RCA when the company was licenced to produce the equivalent LPs. The table below shows the four catalog codes used for each type of tape and by each brand. Later 4-track stereo tapes and 2-track "Twin Packs" are not included in this list. This guide is based on EMI's catalog of 1958 and may be missing titles released shortly after. Mono Stereo CAT BTA CBT BTB COL CCT BTC CDT BTD HTA SAT HTB SBT HMV HTC SCT HTD SDT Other wordings: / between orchestra and conductor means "conducted by". -
British Bookselling Today: to Whom Does the Future Belong?
LOGOS 8(1)/sc/ 2nd 31/10/06 8:55 pm Page 24 LOGOS British bookselling today: To whom does the future belong? Tim Coates Bookselling in the UK today is in as nervous a period as I can remember. The last twenty years have been dominated by the development of new, large, national bookselling chains, most notably Waterstones and Dillons. These chains have brought with them a transfer of power from pub- lishers to retailers. The oldest and largest chain, W H Smith, finds itself usurped and seriously strug- A graduate of University College, gling to hold on to what once was its dominant Oxford and the University of market share. In its fight to survive, it has played the final card in its hand by bringing to an end the Stirling, Tim Coates joined Net Book Agreement, which for 100 years had W H Smith, the UK’s largest been one of the world’s strongest and most strenu- bookseller/newsagent/stationery ously defended instruments of resale price mainte- chain, as a business analyst in nance. This change has opened a Pandora’s box 1975. After a stint as Marketing into which we are only just beginning to see. The flourishing publishing industry seems to be losing its Director of Webster’s bookshops collective confidence and we are witnessing a spate (which were acquired by of major financial crises which imply a period of W H Smith), he was appointed instability ahead. Managing Director of all In my view, the British book industry is suffering from the consequences of too many years specialist bookshops owned by of looking inwards for inspiration and ignoring the Smiths, under the name of wishes of its customers. -
Digitalisation and Intermediaries in the Music Industry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ZENODO CREATe Working Paper 2017/07 (March 2017) Digitalisation and intermediaries in the music industry Authors Morten Hviid Sabine Jacques Sofia Izquierdo Sanchez Centre for Competition Policy, Centre for Competition Policy, Department of Accountancy, University of East Anglia University of East Anglia Finance, and Economics, [email protected] [email protected] University of Huddersfield [email protected] CREATe Working Paper Series DOI:10.5281/zenodo.439344 This release was supported by the RCUK funded Centre for Copyright and New Business Models in the Creative Economy (CREATe), AHRC Grant Number AH/K000179/1. Table of Contents 1. Introduction ..................................................................................................................................... 1 2. How the advancement of technologies shapes the music industry ................................................. 2 2.1 Pre-digitalisation production of recorded music ..................................................................... 2 2.2 The role of digitalisation on recorded music ........................................................................... 4 2.2.1 The compact disc ............................................................................................................ 4 2.2.2 MP3 ................................................................................................................................. 5 2.2.3 Peer-to-peer -
Working at Waterstones
Working at Waterstones: Staff profiles This book contains 40 staff accounts of working at Waterstones stores across the UK. It has been paid for and published by more than 11,500 staff, authors and customers who are calling for the Real Living Wage for all Waterstones employees. All staff names in this book have been changed to the names of the staff member's favourite author, to protect their identity. 1 Contents Worker 1: Ruth Park 7 Worker 2: Chimamanda Ngozi Adichie 8 Worker 3: Leo Tolstoy 9 Worker 4: Muriel Spark 8 Worker 5: Henry Thoreau 10 Worker 6: Virginia Woolf 11 Worker 7: Naomi Klein 12 Worker 8: William S. Burroughs 13 Worker 9: Emily Dickinson 15 Worker 10: Ta-Nehisi Coates 16 Worker 11: Elizabeth Smart 17 Worker 12: Virgil 18 Worker 13: Philip Pullman 19 2 Contents Worker 14: Jane Aust en 20 Worker 15: Mary Shelly 21 Worker 16: Fyodor Dostoevsky 22 Worker 17: Neil Gaiman 23 Worker 18: Salman Rushdie 24 Worker 19: Ernst Hemingway 25 Worker 20: Alan Moore 26 Worker 21: JRR Tolkien 27 Worker 22: Sylvia Plath 28 Worker 23: Benjamin Zephaniah 29 Worker 24: Oscar Wilde 30 Worker 25: Emily Brontë 31 Worker 26: Isaac Asimov 32 Worker 27: James Baldwin 33 3 Contents Worker 28: Doris Lessing 20 Worker 29: Deborah Levy 21 Worker 30: Truman Capote 22 Worker 31: Vladimir Nabokov 23 Worker 32: William Shakespeare 24 Worker 33: Gabriel García Márquez 25 Worker 34: Zadie Smith 26 Worker 35: F. Scott Fitzgerald 27 Worker 36: Haruki Murakami 28 Worker 37: C.