Warner Music Group Corp. (Exact Name of Registrant As Specified in Its Charter)
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20040331 Docket: T-292-04 Citation: 2004 FC 488 Ottawa, Ontario, This
Date: 20040331 Docket: T-292-04 Citation: 2004 FC 488 Ottawa, Ontario, this 31st day of March, 2004 Present: THE HONOURABLE MR. JUSTICE von FINCKENSTEIN BETWEEN: BMG CANADA INC., EMI MUSIC CANADA, A DIVISION OF EMI GROUP CANADA INC., SONY MUSIC ENTERTAINMENT (CANADA) INC., UNIVERSAL MUSIC CANADA INC., WARNER MUSIC CANADA LTD., BMG MUSIC, ARISTA RECORDS, INC., ZOMBA RECORDING CORPORATION, EMI MUSIC SWEDEN AB, CAPITOL RECORDS, INC., CHRYSALIS RECORDS LIMITED, VIRGIN RECORDS LIMITED, SONY MUSIC ENTERTAINMENT INC., SONY MUSIC ENTERTAINMENT (UK) INC., UMG RECORDINGS, INC., MERCURY RECORDS LIMITED AND WEA INTERNATIONAL INC. Plaintiffs and JOHN DOE, JANE DOE AND ALL THOSE PERSONS WHO ARE INFRINGING COPYRIGHT IN THE PLAINTIFFS’ SOUND RECORDINGS Defendants REASONS FOR ORDER AND ORDER Page: 2 [1] The plaintiffs (collectively hereinafter called CRIA) are all members of Canada’s recording industry and are bringing this motion to seek disclosure from five Canadian internet service providers, namely Shaw Communications Inc., Rogers Cable Communications Inc., Bell Sympatico, Telus Inc. and Vidéotron Ltée. (hereinafter collectively called ISPs) of the identity of certain customers who, it is alleged, have infringed copyright laws by illegally trading in music downloaded from the internet. [2] The plaintiffs are unable to determine the name, address or telephone number of the 29 internet users in question as they operate under pseudonyms associated with software which they use; e.g., Geekboy @KaZaA. However, they have conducted an investigation, through which, they submit, it was discovered that these individuals used Internet Protocol addresses (IP addresses) registered with the ISPs which are the respondents to this motion. The plaintiffs are now seeking an order, pursuant to Rules 233 and 238 of the Federal Court Rules, 1998, SOR/98-106, to compel the ISPs to disclose the names of the customers who used the 29 IP addresses at times material to these proceedings. -
Sound Analysis: an Examination of the Canadian Independent Music Industry
Sound Analysis An examination of the Canadian Independent Music Industry February 2013 Prepared By: Nordicity Table of Contents Executive Summary i 1 Introduction 1 1.1 Rationale for this Project 1 1.2 Methodology 3 1.2.1 Survey Methodology 3 1.2.2 “Gross-up” Methodology 4 1.2.3 Interviews 5 1.2.4 Economic Impact 6 2 Economic Profile of Canada’s Independent Music Industry 9 2.1 Defining the limits of the Independent Music Sector 9 2.2 About the Canadian independent music industry 12 2.3 Industry Structure 13 2.4 Industry Revenue 15 2.5 Industry Expenditures 19 2.6 Music Industry Activity 21 2.6.1 Recording Label Activities 21 2.6.2 Publishing Activities 24 2.6.3 Management Activities 25 2.6.4 Touring and Promotion 27 2.7 Salaries and Wages 29 2.8 Growth and Barriers 29 2.9 Music Artists 33 2.9.1 Artist Demographics 33 2.9.2 Artist Activity 33 2.9.3 Artist Growth 35 3 Economic Impact Analysis 37 3.1 Summary of Key Economic Impact Findings 37 3.2 GDP Impact 37 3.3 Employment Impact 39 3.4 Fiscal Impact 41 3.4.1 Gross Fiscal Impact 41 3.4.2 Net Fiscal Impact 44 3.5 Economic Impact Highlights 46 4 Staging for a Growth Spurt 47 4.1 Promising Trends 47 4.2 Issues to Overcome 48 The Canadian Independent Music Association (CIMA) would like to thank the Government of Canada (Department of Canadian Heritage) for its financial assistance. -
The Music Industry and the Fleecing of Consumer Culture
The Music Industry: Demarcating Rhyme from Reason and the Fleecing of Consumer Culture I. Introduction The recording industry has a long history rooted deep in technological achievement and social undercurrents. In place to support such an infrastructure, is a lengthy list of technological advancements, political connections, lobbying efforts, marketing campaigns, and lawsuits. Ever since the early 20th century, record labels have embarked on a perpetual campaign to strengthen their control over recording artists and those technologies and distribution channels that fuel the success of such artists. As evident through the current draconian recording contracts currently foisted on artists, this campaign has often resulted in success. However, the rise of MTV, peer-to-peer file sharing networks, and even radio itself also proves that the labels have suffered numerous defeats. Unfortunately, most music listeners in the world have remained oblivious to the business practices employed by the recording industry. As long as the appearance of artistic freedom exists, as reinforced through the media, most consumers have typically been content to let sleeping dogs lie. Such a relaxed viewpoint, however, has resulted in numerous policies that have boosted industry profits at the expense of consumer dollars. Only when blatant coercion has occurred, as evidenced through the payola scandals of the 1950s, does the general public react in opposition to such practices. Ironically though, such outbursts of conscience have only served to drive payola practices further underground—hidden behind co-operative advertising agreements and outside promotion consultants. The advent of the Internet in the last decade, however, has thrown the dynamics of the recording industry into a state of disarray. -
July 23, 2021 the Musicrow Weekly Friday, July 23, 2021
July 23, 2021 The MusicRow Weekly Friday, July 23, 2021 Taylor Swift’s Fearless (Taylor’s Version) SIGN UP HERE (FREE!) Will Not Be Submitted For Grammy, CMA Award Consideration If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES Fearless (Taylor’s Version) Will Not Be Submitted For Grammy, CMA Awards NSAI Sets Nashville Songwriter Awards For September Big Loud Records Ups 5, Adds 2 To Promotion Team Dylan Schneider Signs With BBR Music Group Taylor Swift will not be submitting Fearless (Taylor’s Version), the re- recorded version of her 2008 studio album that released earlier this year, Dan + Shay Have Good for Grammy or CMA Awards consideration. Things In Store For August “After careful consideration, Taylor Swift will not be submitting Fearless (Taylor’s Version) in any category at this year’s upcoming Grammy and Scotty McCreery Shares CMA Awards,” says a statement provided to MusicRow from a Republic Details Of New Album Records spokesperson. “Fearless has already won four Grammys including album of the year, as well as the CMA Award for album of the Chris DeStefano Renews year in 2009/2010 and remains the most awarded country album of all With Sony Music Publishing time.” Natalie Hemby Announces The statement goes on to share that Swift’s ninth studio album, Evermore, New Album released in December of 2020, will be submitted to the Grammys for consideration in all eligible categories. Niko Moon’s Good Time Slated For August Release Evermore arrived only five months after the surprise release of Folklore, Swift’s groundbreaking eighth studio album. -
Exhibit O-137-DP
Contents 03 Chairman’s statement 06 Operating and Financial Review 32 Social responsibility 36 Board of Directors 38 Directors’ report 40 Corporate governance 44 Remuneration report Group financial statements 57 Group auditor’s report 58 Group consolidated income statement 60 Group consolidated balance sheet 61 Group consolidated statement of recognised income and expense 62 Group consolidated cash flow statement and note 63 Group accounting policies 66 Notes to the Group financial statements Company financial statements 91 Company auditor’s report 92 Company accounting policies 93 Company balance sheet and Notes to the Company financial statements Additional information 99 Group five year summary 100 Investor information The cover of this report features some of the year’s most successful artists and songwriters from EMI Music and EMI Music Publishing. EMI Music EMI Music is the recorded music division of EMI, and has a diverse roster of artists from across the world as well as an outstanding catalogue of recordings covering all music genres. Below are EMI Music’s top-selling artists and albums of the year.* Coldplay Robbie Williams Gorillaz KT Tunstall Keith Urban X&Y Intensive Care Demon Days Eye To The Telescope Be Here 9.9m 6.2m 5.9m 2.6m 2.5m The Rolling Korn Depeche Mode Trace Adkins RBD Stones SeeYou On The Playing The Angel Songs About Me Rebelde A Bigger Bang Other Side 1.6m 1.5m 1.5m 2.4m 1.8m Paul McCartney Dierks Bentley Radja Raphael Kate Bush Chaos And Creation Modern Day Drifter Langkah Baru Caravane Aerial In The Backyard 1.3m 1.2m 1.1m 1.1m 1.3m * All sales figures shown are for the 12 months ended 31 March 2006. -
DENNIS KOOKER President, Global Digital Business and U.S
Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Library of Congress Washington, D.C. ) In re ) ) DETERMINATION OF ROYALTY ) DOCKET NO. 14-CRB-0001-WR RATES AND TERMS FOR ) (2016-2020) EPHEMERAL RECORDING AND ) DIGITAL PERFORMANCE OF SOUND ) RECORDINGS (WEB IV) ) ) TESTIMONY OF DENNIS KOOKER President, Global Digital Business and U.S. Sales, Sony Music Entertainment PUBLIC VERSION Witness for SoundExchange, Inc. PUBLIC VERSION TESTIMONY OF DENNIS KOOKER BACKGROUND My name is Dennis Kooker. I have been employed in the recorded music business for approximately 20 years. Since 2012, I have served as President, Global Digital Business and U.S. Sales, for Sony Music Entertainment (“Sony Music”), a wholly owned subsidiary of Sony Corporation, and currently the second largest record company in the United States. In this capacity, I am responsible for overseeing all aspects of the Global Digital Business Group and the U.S. Sales Group. The Global Digital Business Group handles business and partner development and strategy for the digital business around the world. The U.S. Sales Group oversees sales initiatives on behalf of each of Sony Music’s various label groups in the United States. The areas within the organization that report to me include Business Development & Strategy, Partner Development, Digital Finance, Digital Business & Legal Affairs, U.S. Sales, and Sony Music’s distribution service company, RED Distribution. From 2007-2012, I held two different positions at Sony Music. First, I was Executive Vice President, Operations, for the Global Digital Business and U.S. Sales, and oversaw physical sales, aspects of marketing and finance for the division, new product development, and customer relationship management activities in relation to Sony Music’s artist websites. -
WARNER MUSIC GROUP FILES REGISTRATION STATEMENT for an INITIAL PUBLIC OFFERING NEW YORK, New York, February 6, 2020—Warner
WARNER MUSIC GROUP FILES REGISTRATION STATEMENT FOR AN INITIAL PUBLIC OFFERING NEW YORK, New York, February 6, 2020—Warner Music Group Corp. (“Warner Music Group”) today announced that it has filed a registration statement on Form S-1 with the U.S. Securities and Exchange Commission (“SEC”) for a proposed initial public offering (“IPO”) of its common stock. The shares of common stock to be sold in this offering are proposed to be sold by certain of Warner Music Group’s stockholders. The number of shares of common stock to be offered and the price range for the proposed offering have not yet been determined. Morgan Stanley, Credit Suisse and Goldman Sachs & Co. LLC are acting as joint bookrunning managers for the offering. When available, copies of the preliminary prospectus relating to the offering may be obtained from: Morgan Stanley & Co. LLC, Attention: Prospectus Department, 180 Varick Street, 2nd Floor, New York, NY 10014; Credit Suisse Securities (USA) LLC, Attention: Prospectus Department, Eleven Madison Avenue, 3rd floor, New York, NY 10010, by telephone at (800) 221-1037, or by email at [email protected]; or Goldman Sachs & Co. LLC, Attention: Prospectus Department, 200 West Street, New York, NY 10282, by telephone at (866) 471-2526, or by email at [email protected]. A registration statement relating to these securities has been filed with the SEC but has not yet become effective. These securities may not be sold nor may offers to buy be accepted prior to the time the registration statement becomes effective. This press release does not constitute an offer to sell or the solicitation of an offer to buy securities, and shall not constitute an offer, solicitation or sale in any jurisdiction in which such offer, solicitation or sale would be unlawful prior to registration or qualification under the securities laws of that jurisdiction. -
Streaming Services Intern
Streaming Services Intern We are Warner Music Group, home to a broad roster of new stars and legendary artists through a collection of the best- known record labels in the music industry including Asylum, Atlantic, Big Beat, Canvasback, East West, Elektra, Erato, FFRR, Fueled by Ramen, Nonesuch, Parlophone, Reprise, Rhino, Roadrunner, Sire, Spinnin’, Warner Bros., Warner Classics, and Warner Music Nashville, as well as Warner/Chappell Music, one of the world's leading music publishers, with a catalog of more than one million copyrights worldwide. We currently have a fantastic opportunity for an intern to join our Streaming Services team. This opportunity is designed to provide a student with the chance to work in an innovative, dynamic environment and gain valuable hands-on experience in an essential function within the music industry. A little bit about our team: Warner Music Canada is home to some of the most influential and innovative artists of our time. Our extraordinary roster of new and established recording artists is unparalleled, and our collective influence on music culture is without precedent. With a visionary approach toward discovering and nurturing musical talent, the Warner Music Canada family of labels is currently home to an impressive generation of major artists. Here you’ll get to: • Develop a knowledge base of Warner Music Group’s domestic and international artist roster and song catalogue. • Assist commercial revenue team by uploading playlists to Spotify, Apple Music, YouTube and other streaming platforms on a weekly basis. Most updates will occur on Fridays but some playlists will need to be updated with the start of a calendar month. -
Idols and Celebrity in Japanese Media Culture, Edited by Patrick W
Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin This page intentionally left blank Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Edited by Patrick W. Galbraith and Jason G. Karlin University of Tokyo, Japan Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Introduction, selection -
Oct. 2016 Newsletter
October 15, 2016 The State of Creative NEWSLETTER A n E n t e r t a i n m e n t I n d u s t r y O r g a n i z a t i on 4 Label Reps: What They’re Signing In 2016 The President’s Corner by Bernard Baur | Music Connection Thank you for joining us as the CCC examines The music industry has evolved beyond the simple concept of selling a song or an album. Today, A&R reps and label execs face a multitude of 'The State Of Crea8ve'. We have assembled an challenges that, if mishandled, could cost them their jobs. Consequently, esteemed panel of execu8ves whose exper8se savvy industry pros adopt methods that suit their label’s culture, and that is responsible for some of the ar8sts and music affects the way they evaluate talent and make decisions. To give you occupying the airwaves and content streams some insight into the process each person uses to evaluate and sign an act to a label contract, we contacted A&R reps and executives at four record today. Learn how the A&R community has labels. You’ll learn about what makes their companies unique and what learned to adapt as well as 'adopt' new factors they consider before inking a deal. We think you’ll find the techniques, strategies and philosophies to stay information they disclose both eye-opening and useful to your career. abreast of new developing talent as well as emerging trends that dictate the stars of EPIC RECORDS - Eesean Bolden, VP A&R tomorrow. -
Warner Music Group Annual Report 2019
Warner Music Group Annual Report 2019 Form 10-K (NASDAQ:WMG) Published: November 27th, 2019 PDF generated by stocklight.com UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 ___________________________________________________________________________________________ FORM 10-K ___________________________________________________________________________________________ (Mark One) ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended September 30, 2019 OR ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 001-32502 ___________________________________________________________________________________________ Warner Music Group Corp. (Exact name of Registrant as specified in its charter) ___________________________________________________________________________________________ Delaware 13-4271875 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification No.) 1633 Broadway New York, NY 10019 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including area code: (212) 275-2000 ___________________________________________________________________________________________ Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered None None None Securities registered pursuant to Section 12(g) of the Act: None ___________________________________________________________________________________________ -
Transforming Resources CSTM Research Contract 2104-16-008 Mining, Oil & Energy Researcher: Beth A
Resource Sector in Popular Culture Gallery: Transforming Resources CSTM Research Contract 2104-16-008 Mining, Oil & Energy Researcher: Beth A. Robertson MUSIC BANDS, CHOIRS, SONGS AND ALBUMS THAT REFERENCE MINING, OIL & ENERGY: Music Bands and Choirs: The Men of the Deeps: A choir of working and retired coal miners from Cape Breton, Nova Scotia that first organized in 1966 in celebration of Canada’s Centennial Year (1967). Their mission has been to preserve the rich folklore of Nova Scotia coal mining communities through song. They have since travelled widely, being the first Canadian performer group to visit the people’s republic of China after diplomatic relations between Canada and China were restored in 1972, as well as Yugoslavia, throughout the United States and Canada. They have also partnered with other well-known musicians such as Rita MacNeil to produce the 1998 album, “Reason to Believe.” Copyright: All songs and promotional materials copyright protected, all rights reserved by Men of the Deeps. To inquire about licensing, please contact business manager Stephen Muise: (Mail) 211 Olive Street, New Waterford, NS, (Tel) 902-862-8518, (Email) [email protected] 1 Resource Sector in Popular Culture Gallery: Transforming Resources CSTM Research Contract 2104-16-008 Mining, Oil & Energy Researcher: Beth A. Robertson The Hard Rock Miners: Canadian rockabilly folk band based in Vancouver, British Columbia, formed in 1987 by Michael Phillips, Scooter Johnson-Bucket, Oliver Metson, Ingrid Mary Percy, Michael Turner, Peter Carr, and Bill Ryan. Popular songs of the band include “Old Vancouver Town” (1995) and “Oh This Night” (1995). https://en.wikipedia.org/wiki/Hard_Rock_Miners Copyright: All songs and press copyright protected, all rights reserved.