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An N U Al R Ep O R T 2018 Annual Report
ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1. -
Testimony of Jonathan Bender
Public Version Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Washington, D.C. In the Matter of: Determination of Royalty Rates and Terms Docket No. 16-CRB-0001 SR/PSSR for Transmission of Sound Recordings by (2018-2022) Satellite Radio and “Preexisting” Subscription Services (SDARS III) WRITTEN DIRECT TESTIMONY OF Jonathan Bender Chief Operating Officer SoundExchange, Inc. October, 2016 Public Version BACKGROUND AND QUALIFICATIONS I am the Chief Operating Officer of SoundExchange, Inc.("SoundExchange"), a position I have held since September 2011. In this role, I oversee the collection, processing and distribution of royalties for all types of seiwices eligible for statutory licensing, including the satellite digital audio radio services("SDARS") and preexisting subscription services ("PSS") at issue in this proceeding. The groups within SoundExchange that handle repertoire management, rights inanageinent, licensee management, data management, account services, and distribution services all report to me. Additionally, I oversee SoundExchange's technical involvement with licensees and assist with coordination of its systems requirements, development, testing and operations. In all, I have over 25 years of music industry business and management expertise, including senior operational roles at Concord Music Group, Universal Music Group, and EMI Music. I was senior vice president, operations, IT and digital development at Concord Music Group. Before joining Concord, I spent seven years with Universal Music Group, most recently as vice president, digital asset management and logistics. I also spent nine years with EMI Music, most recently as Director of New Technology. I hold a bachelor's degree from the University of North Carolina at Chapel Hill and an MBA from Harvard Business School. -
Nummer 2 - December 2008
Nummer 2 - December 2008 Ny ordning!s.7-15 Demo + krati!?s.17 Blåmes?s.18-19 Fackavgiftens.27 Skyddet CYs.28 Arbetsmiljöansvarig Lars Smith sidorna 30-32. Fackexpeditionsansvarig Kicki El Gomati Förhandlingsansvarig Gunnar Öhman sidan 28. Försäkring o pensionsansvarig Cyrus Pairawan sidorna 30-32. Hemsideansvarig informerar Mikael Lind sidan 3. Informationsansvarig informerar Mikael Lind sidorna 3, 17-19. Introduktionsansvarig Kicki El Gomati Jämstäldhetsansvarig Anette Bergström Kultur o fritidsansvarig Babak Sadeghi Mångfald o integrationsansvarig Anette Bergström Rehabiliteringsansvarig Serg Zadruzny sidorna 30-32. Rekryteringsansvarig Kicki El Gomati Studieansvarig informerar Mikael Lind Ungdomsansvarig Kim Ekström 2 Innehåll Redaktion De ansvarigas sidor 2 Ansvarig utgivare Klubb 120 Skribenter Kubbens öppettider 3 Cyrus Pairawan Cyrus Pairawan (CP) Kollektivavtalet på väg ut... 3 Mikael Lind (ML) Veolias löften inte värda nå’t! 3 Chefredaktör Jan Melakoski (JM) En uppmaning!! 3 Mikael Lind Mats Örnsved (MÖ) Ledaren 4-5 Lars Smith (LS) Antifackliga kontraktet 5 Serg Zadruzny (SZ) Klubbens nya valorning 7-15 Klubb 119 skribenter Gunnar Öhman (GÖ) Demo + krati 17 Blåmes 18-19 Kollektivavtalsförhandlingar 29 Arbetarrörelsens Tankesmedja 20-26 Inga höjda avgiftsklasser 2009 27 Skyddsombuden i CY 28 Bonusen på turistkorten 28 Veolias löften Lösningen på förra korsordet 28-29 Försäkringskassans nya regler 30-32 inte värda nå’t! Medlemsresa till Tallin 34 Mycket långt tid har Fast än frågan stötts Korsordstävlingen 35 nu passerat sedan och blötts och mycket Vivendi über alles 37-39 Veolia lovade att tid har gått åt till at ta Efterlysning av skribenter 40 beställa och sätta upp fram den grafik som Expeditionens anslagstavlor åt SEKO skulle tryckas på tav- i varje spärr. -
Imperial Singles Labels
Imperial Singles Labels Imperial Records of Los Angeles incorporated on June 29, 1946, and started in August. At the time they primarily recorded folk dances from masters that were provided to them and hired local Chicanos to record Mexican music. Although this music credited authors such as “Jesus Ramos” and “Victor Cordero,” the Catalogue of Copyright Entries for musical compositions in 1946 shows that all of the songs were credited to Lewis Chudd and Max Feirtag – the owners of Imperial Records – with Feirtag contributing the lyrics. The new label began soliciting local singers. Fernando Rosas had released three singles for the local (LA) label, Discos Mexico immediately prior to cutting discs for Discos Imperiales. Imperial also recorded several singles with the popular group, Los Madrugadores. The company was first mentioned in the October 19, 1946, issue of Billboard, as distributing a folk line and a line of Chicano music labeled Discos Imperiales. The folk line started its numbering with 1000, while the Latino line began with 100. DI46 The first Discos Imperiales label was orange with dark print. There was no manufacturer address at the top of the label. DI47 At around single 115, Discos Imperiales added “Made in USA” and the company address to the top of the label. Later that year – possibly as early as catalog number 147 – the label was changed to Imperial, and earlier pressings were reissued onto the IM47 label, below. Meanwhile the folk dance line (1000 series) had been using a custom label. It, too, was folded into the standard Imperial label. IM47 About to expand from its status as a label catering to Mexican music and folk dance, Imperial introduced the orange label. -
GIORGIO MORODER Album Announcement Press Release April
GIORGIO MORODER TO RELEASE BRAND NEW STUDIO ALBUM DÉJÀ VU JUNE 16TH ON RCA RECORDS ! TITLE TRACK “DÉJÀ VU FEAT. SIA” AVAILABLE TODAY, APRIL 17 CLICK HERE TO LISTEN TO “DÉJÀ VU FEATURING SIA” DÉJÀ VU ALBUM PRE-ORDER NOW LIVE (New York- April 17, 2015) Giorgio Moroder, the founder of disco and electronic music trailblazer, will be releasing his first solo album in over 30 years entitled DÉJÀ VU on June 16th on RCA Records. The title track “Déjà vu featuring Sia” is available everywhere today. Click here to listen now! Fans who pre-order the album will receive “Déjà vu feat. Sia” instantly, as well as previously released singles “74 is the New 24” and “Right Here, Right Now featuring Kylie Minogue” instantly. (Click hyperlinks to listen/ watch videos). Album preorder available now at iTunes and Amazon. Giorgio’s long-awaited album DÉJÀ VU features a superstar line up of collaborators including Britney Spears, Sia, Charli XCX, Kylie Minogue, Mikky Ekko, Foxes, Kelis, Marlene, and Matthew Koma. Find below a complete album track listing. Comments Giorgio Moroder: "So excited to release my first album in 30 years; it took quite some time. Who would have known adding the ‘click’ to the 24 track would spawn a musical revolution and inspire generations. As I sit back readily approaching my 75th birthday, I wouldn’t change it for the world. I'm incredibly happy that I got to work with so many great and talented artists on this new record. This is dance music, it’s disco, it’s electronic, it’s here for you. -
Newly Cataloged Items in the Music Library August - December 2017
Newly Cataloged Items in the Music Library August - December 2017 Call Number Author Title Publisher Enum Publication Date MUSIC. MCD3.C63 B37 v.1 Vivaldi, Antonio, 1678- Vivaldi : Venetian splendour. International Masters 2006 2006 1741. Pub., MUSIC. MCD3.C63 B37 v.2 Bach, Johann Sebastian, Bach : Baroque masterpieces. International Masters 2005 2005 1685-1750. Pub., MUSIC. MCD3.C63 B37 v.3 Bach, Johann Sebastian, Bach : master musician. International Masters 2007 2007 1685-1750. Pub., MUSIC. MCD3.C63 B37 v.5 Handel, George Frideric, Handel : from opera to oratorio. International Masters 2006 2006 1685-1759. Pub., MUSIC. MCD3.C63 C63 v.1 Haydn, Joseph, 1732- Haydn : musical craftsman. International Masters 2006 2006 1809. Pub., MUSIC. MCD3.C63 C63 v.2 Haydn, Joseph, 1732- Haydn : master of music. International Masters 2006 2006 1809. Pub., MUSIC. MCD3.C63 C63 v.3 Mozart, Wolfgang Mozart : musical masterpieces. International Masters 2005 2005 Amadeus, 1756-1791. Pub., MUSIC. MCD3.C63 C63 v.4 Mozart, Wolfgang Mozart : classic melodies. International Masters 2005 2005 Amadeus, 1756-1791. Pub., MUSIC. MCD3.C63 C63 v.5 Mozart, Wolfgang Mozart : magic of music. International Masters 2007 2007 Amadeus, 1756-1791. Pub., MUSIC. MCD3.C63 E17 .1 Beethoven, Ludwig van, Beethoven : the spirit of freedom. International Masters 2005 2005 1770-1827. Pub., MUSIC. MCD3.C63 E17 Rossini, Gioacchino, Rossini : opera and overtures. International Masters 2006 v.10 2006 1792-1868. Pub., MUSIC. MCD3.C63 E17 Schumann, Robert, 1810- Schumann : poetry and romance. International Masters 2006 v.11 2006 1856. Pub., MUSIC. MCD3.C63 E17 Mendelssohn-Bartholdy, Mendelssohn : dreams and fantasies. International Masters 2005 v.12 2005 Felix, 1809-1847. -
Fats Domino, Early Rock 'N' Roller with a Boogie-Woogie Piano, Is Dead at 89
Fats Domino, Early Rock ’n’ Roller With a Boogie-Woogie Piano, Is Dead at 89 https://www.nytimes.com/2017/10/25/obituaries/fats-domino-89-one-of-rock-n-rolls-first-stars-is-dead.html October 25, 2017 By JON PARELES and WILLIAM GRIMES Fats Domino in 1967. Fats Domino, the New Orleans rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals, heard on dozens of hits, made him one of the biggest stars of the early rock ’n’ roll era, died on Tuesday at his home in Harvey, La., across the Mississippi River from New Orleans. He was 89. His death was confirmed by the Jefferson Parish coroner’s office. Mr. Domino had more than three dozen Top 40 pop hits through the 1950s and early ’60s, among them “Blueberry Hill,” “Ain’t It a Shame” (also known as “Ain’t That a Shame,” which is the actual lyric), “I’m Walkin’,” “Blue !1 Monday” and “Walkin’ to New Orleans.” Throughout he displayed both the buoyant spirit of New Orleans, his hometown, and a droll resilience that reached listeners worldwide. He sold 65 million singles in those years, with 23 gold records, making him second only to Elvis Presley as a commercial force. Presley acknowledged Mr. Domino as a predecessor. “A lot of people seem to think I started this business,” Presley told Jet magazine in 1957. “But rock ’n’ roll was here a long time before I came along. Nobody can sing that music like colored people. Let’s face it: I can’t sing it like Fats Domino can. -
Marketing in the Music Industry
Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky Marketing in the Music Industry (Bakalářská práce) Autor: Jan Kašpír Studijní obor: Angličtina se zaměřením na aplikovanou ekonomii Vedoucí práce: Joseph James Ference Dr. Olomouc 2012 I declare that I elaborated this paper independently and that I mentioned the absolute list of works cited In Olomouc on the day I hereby express my deepest gratitude towards Dr. Joseph Ference for his constant guidance, advice and patience in the development of this bachelor thesis. List of Abbreviations Used in the Thesis A&R – artist and repertoire ARC – American Record Corporation BBC – British Broadcasting Company BMG – Bertelsmann Music Group CBS – Columbia Broadcasting System CD – compact disc CD-R – recordable compact disc CD-ROM – Compact Disc Read-only memory – preprinted CD containing data readable by a computer CEO – chief executive officer DAT – Digital Audio Tape DMCA – Digital Millennium Copyright Act DNS – Domain Name System DRM – Digital Rights Management EMI – Electrical and Musical Industries e-tailer – electronic (internet) retailer GE – General Electric IFPI – International Federation of the Phonographic Industry IP – internet protocol ISP – internet service provider LP – long play record M. C. – music cassette MCA – Music Corporation of America mp3 – MPEG2 Audio Layer III – audio compression format P2P – peer-to-peer: computer internet network allowing users to share files PIPA - PROTECT IP Act - Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property Act of 2011 R&B – Rhythm and Blues SME – Sony Music Entertainment SOPA – Stop Online Piracy Act UMG – Universal Music Group VCR – video cassette recorder WEA – Warner-Elektra-Atlantic WMG – Warner Music Group Table of Contents 1 Introduction .................................................................................................... -
“Big Chief” Moore, in New York a Few Weeks Earlier on January 16
WIND12413 ITF Douglas Yeo ITA.qxp_Layout 1 5/22/17 11:24 AM Page 1 July 2017/ Volume 45, Number 3 / $11.00 Denson Paul Pollard — Page 36 Douglas Yeo Depends on Yamaha “Yamaha trombones are the most flexible, finely engineered and well-made instruments INTERNATIONALINTERNATIONAL I have ever played. They allow my musical voice to be expressed beautifully every time I have a trombone in my hands.” Douglas Yeo Visit 4wrd.it/yeoITA2 for details World-renowned Bass Trombonist ASSOCIATION JOURNAL THETHE QUARTERLYQUARTERLY PUBLICATIONPUBLICATION OFOF THETHE ITAITA Take it, Big Chief! An Appreciation of Russell Moore Photo credit: Timothy Hutchens INTERNATIONAL TROMBONE ASSOCIATION JOURNAL The Quarterly Publication of the ITA Volume 45, Number 3 / July 2017 General News — Page 6 The International Trombone Association is Dedicated to the Artistic Advancement of Trombone Teaching, Performance, and Literature. Contents Features Take It, Big Chief: An Appreciation of Russell Moore ITA JOURNAL STAFF by Douglas Yeo .............................................................. 18 Managing Editor A Conversation with Denson Paul Pollard Diane Drexler by Douglas Yeo ................................................................ 36 3834 Margaret Street, Madison, WI 53714 USA / [email protected] Associate Editors Feature Stories – Bruce Gunia Departments [email protected] Announcements ...................................................................... 2 Jazz – Antonio Garcia President’s Column - Ben van Dijk .......................................... -
Ling Joins Kapp As V.P., Gen. Mgr. Decca's Jan. Plan
LING JOINS KAPP DECCA'S JAN. PLAN 10 LPS INTRO EPICS AS V.P., GEN. MGR. OFFERS 25 ALBUMS "ERA OF PROFIT" PLAN New York—Epic Records, introducing its New York—Decca Records this week is "Era of Profit" concept, for a year-round, announcing die release of 25 new pop and well balanced and well-planned product, is classical albums, spearheading the company's releasing 10 LP's diis month—four pop, one January re-stocking program, the dominant international, and five classical. Also re• theme being "Up Front Counts More With leased will be three 4-track stereo tapes Decca-Coral-Brunswick". The program en• featuring one pop and two classical tapes. compasses the entire catalog of LP's and Heading the new album releases is Bobby EP's on the three labels. Tlie new releases Yinton's "There! I've Said It Again" and will be offered dealers under an attractive George Maharis' "Make Love To Me." incentive plan, details of which are available through local Decca branches and distrib• CAPITOL "RINGS IN utorships. Decca currently is reported in the midst YEAR" WITH 15 POPS of one of its strongest selling periods in Hollywood—Capitol Records "rings in the recent months, riding the sales wave with New Year" with 15 new pop releases for such big albums as "That Was the Week January, featuring the voices of Nancy Wil• That Was", Brenda Lee's "Let Me Sing", son, The Kingston Trio, The Lettermen and WARREN LING and Rick Nelson's "For You", plus such hit a new folk-type svidnger, Jeannie Hoffman. -
The Golden Age of Rock 'N' Roll
The Golden Age of Rock ’n’ Roll Week 5, March 19, 2018 1956 (part 2): Elvis, Fats, Little Richard Assignment: “The Story of Blue Suede Shoes” http://www.rebeatmag.com/carl-perkins-elvis-blue-suede-shoes-story/ Rolling Stone: “The Rope: The Forgotten History of Segregated Rock & Roll Concerts” http://www.rollingstone.com/music/features/rocks-early-segregated-days-the- forgotten-history-w509481 Little Richard profile with rare photos: http://www.history-of-rock.com/richard.htm Listen to: Church Bells May Ring, The Willows, 1956 (#62 Pop, #12 R&B) https://www.youtube.com/watch?v=tLl1eDAWMeA [optional] Compare: The Diamonds, 1956 (#14 Pop) https://www.youtube.com/watch?v=IdBN-hOmtVE Fever, Little Willie John, 1956 (#1 R&B) https://www.youtube.com/watch?v=i93-hlwULUk [optional] Compare: Peggy Lee, 1956 https://www.youtube.com/watch?v=Kjy2sZ8yBGQ Be-Bop-A-Lula, Gene Vincent, 1956 https://www.youtube.com/watch?v=O4_5593-skQ Page !1 Oh What a Night, The Dells, 1956 https://www.youtube.com/watch?v=Z1ozQT8yQXA I Walk the Line, Johnny Cash, 1956 (#1 Country; #19 Pop) https://www.youtube.com/watch?v=Lq0fUa0vW_E There is a key change between each of the five verses, and Cash hums the new root note before singing each verse. The final verse, a reprise of the first, is sung a full octave lower than the first verse. My Blue Heaven, Fats Domino, 1956 https://www.youtube.com/watch?v=CS75X7perbI Sold over 5 million copies in 1928 as recorded by Gene Austin. Money Honey, Elvis Presley, 1956 https://www.youtube.com/watch?v=R-4KROtI1yM Compare: The Drifters (McPhatter) (1953) https://youtu.be/N8oNHMNCSjQ Roll Over Beethoven, Chuck Berry, 1956 https://www.youtube.com/watch?v=zD80CostTV0 The Magic Touch, The Platters, 1956 https://www.youtube.com/watch?v=iVX6f3OZ35o * * * * Some notes (to be discussed in class): FATS DOMINO -Born in New Orleans. -
Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution.