DOCSLIB.ORG

Warner Music Group Corp. (Exact Name of Registrant As Specified in Its Charter) Delaware 13-4271875 (State Or Other Jurisdiction of (I.R.S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Warner Music Group Corp. (Exact Name of Registrant As Specified in Its Charter) Delaware 13-4271875 (State Or Other Jurisdiction of (I.R.S 2006 ANNUAL REPORT IND IA. ARI E A VEN GE D S EV EN FO LD B UR T BA CH AR AC H BE E GE ES SUM ND DAY THE LA DY IS A TRAMP TOO MARVELOU MERTIME HAPPY BIRTHDAY TO YOU NIGHT A S FOR WO BI RDS DA G & NCING RI IN T Listen to our story. C H H E DA BJ RK W ÖR INT K J ER AM WO ES NDE BL RL UN AND T B A OY IN’ Z N T S DA H HE OOD SW M EE ICHE T LLE FR BRAN OS CH M TY ICHA TH EL BU E BLÉ R SN YAN OW CABRE M RA AN A DREAS CA N RLSSON TRA W CY CHAPMAN H RAY CHARLES CHER ERIC CLAPTON PHIL COLLINS TH EN E CORRS COWBO I Y TROY FA BRYAN LL -MICH I AEL N COX LO DANI VE TY K M ANE I TH ST E DA Y RK TH NES E S C PA RA R IG TY DAV ’S ID OV DE ER AT O H C N T AB HE FO ST R C RE UT ET IE WH DE ER FT E YO ON U L ES IVE D BLUE ID BER DY RY HI D LL MA ID KIN’ WH O OOPEE D REAM A LITT LE DREAM OF ME IT HAD TO BE YOU YOU GO TO MY HEAD P EOP LE I ON LY W AN T T O B E W ITH YO U W HE N A MA DI N L STURBED OV LIPS THE DOORS ES FIASCO FLAMING DR. DRE THE EAGLES ENYA FAITH HILL A W LUPE OM AN I GO T A WO MA N Dear Shareholder At this point each year, it’s important to pause and eval- Recorded Music business. This year, gains in our uate our situation. At Warner Music Group, we measure Recorded Music digital revenue more than offset ourselves for progress that will yield sustained share- declines in our Recorded Music physical revenue. holder value. Therefore, we compare our standing today not simply against last month or last quarter, but also We see the prospect for growth in three primary areas: examine where we’ve come over the course of the year. And we continually challenge ourselves to build upon • Extending our global reach; our success to date. • Developing new product offerings; and This year, again, we like what we see. • Embracing new distribution channels. In a dynamic industry landscape such as ours, there are two types of companies: those who view change as In 2006, we made great progress in each of these. a threat and those who view it as an opportunity. We see opportunity in the evolution of the music industry. Accomplishments We work every day to transform Warner Music Group into a music-based content company through new business Geographical Expansion models, especially by embracing the digital business. Mobile communication is bridging—even dissolving— many of the geographical, commercial and cultural I would like to share with you some of our milestones boundaries that once separated people. Just as the this year, which are illustrative of how we intend to wireless industry is reinventing how people connect with deliver value to you in the future. one another, Warner Music Group is seeking to reinvent how consumers listen to music. Prospects in a Transitioning Music Industry Over the past year, we reached a series of agreements As the music industry works to revitalize itself and that further broadened our worldwide mobile footprint— grapples with a challenging CD retail environment, we in countries such as China, South Korea, Japan, Russia are experimenting with strategies that we believe will and South Africa. continue to offset the declines in our traditional physical FLEETW OOD MA S C GEN T MIKE JONE ESIS OR ME HEIM JE GEOR ST DANCE F SON JA GE A E THE LA L JACK ND IR NT SAV ICHAE A GE MOME V I.M. M RSHW MAGIC IVA EY H. IN G THIS LAS HENL NAR VE DON LS B GAS RRIS ORTH ARKL OU HA ’S W EY G MMYL AT IT OO GO BAN E W R WH O DOL H GRO ALK E FO LS GR AY JOS ON B S BLU ATEFUL GREEN D Y BU OVE I DEAD ILD ADY L ME U GET RE P BUT PEOPLE TERC UP EV ERYDA Y PEOP LE WHOL Shani Gonzales E LOTTA LOVE Executive Assistant, Warner/Chappell Listening to Dani California by Red Hot Chili Peppers It’s about the music. Pictured on the cover: Erin Hogan Executive Assistant, Investor Relations, Warner Music Group Singing Labios Compartidos by Maná We now reach over 1.4 billion mobile subscribers around 30, 2006, about 70% of our U.S. album bundles were the world—more than twice as many as last year. We priced above the standard $9.99 download offering. believe that our mobile reach is larger than that of any RI LO KILEY AJA NDRO SA other media company. In certain countries where the Our digital product innovation has expanded into the NZ SEA NG JOC L SEA G DRO YU N PAU G DILEMMA WORK G YOUN physical music business is rife with piracy, the mobile mobile landscape. For example, with KDDI, we offered L JO R WHITE FLA IT MISS YO IL YOUN HN SH E A RIVE U BURN MS NE ANKS CRY M AMER ILLIA music business provides the promise of deriving eco- the first mobile bundles in Japan. We also announced a SHIN LOVE ICAN OHN W EDOW Y IN IDIO HITE J nomic value from our content. partnership with Skype, becoming the first Recorded N FR CRAZ T TH RRY W ANK S E RE EN BA INAT ASO NHAG Music company to offer online personalization through BAD RA PA N ESTER T IT UL SI EILL W U GO MON S URT W SA We have a deep commitment to customized, innovative a Voice Over IP ringtone service. YO IMPLE WALL K VE A ATED PLAN S N PAUL HOR PLIC LAYER T MORRISO SE ( partnerships that best complement the technology, cul- COM HE SMITHS USED VAN RIDE APH STAIND ROB TH CLE KRACKER THE A CO TOGR OMAS T.I. TIMBALAND TWISTA UN WBO ture, taste and conditions of each territory. We were the first music company to make SMS tones LE PHO Y) W EN AWHI E BEL commercially available beginning in Germany. These IT’S BE ONG T OGETH ER PR New Digital Product Creation tones are very short versions of mastertones and video- OMISCU OUS CRAZ tones that are used as message signals for incoming Y Only three years ago, the Recorded Music business SMS messages. was just about selling CDs. Due to the advent of digital distribution we’ve been able to turn each album release Distribution Channel Expansion into a myriad of consumer offerings. Not only is the CD version of an album available in digital form but also Beyond creating new forms of content, we are finding “unbundled” on a track-by-track basis and in the form new channels to distribute it—and video entertainment of ringtones and video downloads. We can also sell has been a primary focus. We have a video strategy an album in digital form at a premium price point designed to: “bundled” with additional assets such as bonus tracks, “making-of” videos, artist interviews and concert ticket- • Develop unique video assets for album releases; ing opportunities. • Establish strategic relationships with both video dis- Innovative products such as album bundles enhance tributors and “enablers”; and our margin profile and drive incremental demand for music. We are leading the industry in total number of • Build new business models to optimize the monetiza- album bundles. For the 12 months ended September tion of video in the digital space. JUVENILE KID RO CK K.D. LANG LARRY T HE CABLE LICA GUY LED A HORSE W ETAL ZEPPEL ITH NO CER M IN LIL’ NAME M Y MER FLIP LI OONDA OHNN L’ KIM NCE P AAR J LIL’ SCR EACEFU C SOL APPY L L EASY M IN KIN P F EELI Y ARK HT NG LA ONE CKNIG YLA S E OF M RIAN M TAYING E LOV NTY B ALIVE R TH OX TWE W FO ATCHB S NO TADON M PING U NÁ MAS STOP ADONNA MA N’T NO M ORS AI LOSED DO BEHIND C David Molinary Shipping Manager, WEA NYC Enjoying Come to Me by Diddy We discover and nurture the careers of the world’s most creative recording artists and songwriters. 1 We’re leading the digital revolution by marketing, promoting and distributing music content in the most innovative ways. GEORGE MICHA EL LUIS M IGUEL N NICKELBACK NOTORIOUS MISSY Y NILSSO B.I.G. PAN ELLI S HARR IC! AT TH OTT M ICHOL E DISCO OBY PARK TIM N LAUR ALA IN THE OLLS A PAUS CREEP NIS M URDAY EYE RK D INI CO MACARENA ICE ORI SAT OF T EW YO LE PO SUNNY C N R SSET IT IS? HE TIG N N RTER AME HOM MIE TE TIME ER EWMA DANIE E AMA DA H AT SLOW DY N L POW ZED TH M. W W JAS HAN RAN TER IS KISS .E. KNO ON MR D RDER BELIEV R ALLY AZ MU NE W O E SMO Y RE SE MUS ANCE TH E RS OTH L BOD IQ SOUL L ROM E W ABL PEPPE IVIN’ L ANY CHILD EMICA IND ELIEV CHILI A VIDA OES MY CH BEN UNB HOT LOCA LY D EA EME ES RED SOFT TH M ES TH RAMON G ME Y W A JON EAD THE KILLIN INGS DIAN KY RADIOH THEME EN LD IN PRETTY RIC STAR WARS DLES WOR S LO RE THE VE M WE A ORNI JUMP NG TRA BEAT IT IN WHAT YOU NEED Tahirah McLean Coordinator, Art Department, Atlantic Records Watching the video of Crazy by Gnarls Barkley The deal we reached with YouTube this year is emblem- • Our focus on profitable growth through financial disci- atic of what we are trying to achieve.
Load more

Recommended publications
  • Music and the American Civil War
    “LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans.
    [Show full text]
  • MICHIGAN MONTHLY ______November, 2018 Diane Klakulak, Editor & Publisher ______
    MICHIGAN MONTHLY ________________________________________________________________________________________________________________ November, 2018 Diane Klakulak, Editor & Publisher __________________________________________________________________________________________________________________ DETROIT LIONS – Ford Field; DetroitLions.com or UNIVERSITY OF MICHIGAN WOLVERINES – 866- FordField.com; on Fox unless otherwise specified 296-MTIX, MGOBLUE.com/Tickets Nov. 4 at Minnesota Vikings; 1 pm Nov. 3 vs. Penn State Nov. 11 at Chicago Bears; 1 pm Nov. 10 at Rutgers Nov. 18 vs. Carolina Panthers; 1 pm Nov. 17 vs. Indiana Nov. 22 vs. Chicago Bears; 12:30 pm; CBS Nov. 24 at Ohio State Buckeyes; noon; Fox Dec. 2 vs. Los Angeles Rams; 1 pm Dec. 1 Big Ten Championship Dec. 9 at Arizona Cardinals; 4:25 pm Dec. 16 at Buffalo Bills; 1 pm MICHIGAN STATE UNIVERSITY – Dec. 23 vs. Minnesota Vikings; 1 pm msuspartans.com Dec. 30 at Green Bay Packers; 1 pm Nov. 3 at Maryland Terrapins DETROIT RED WINGS – LITTLE CAESARS Nov. 10 vs. Ohio State Buckeyes ARENA – on FSD unless otherwise stated Nov. 17 at Nebraska Cornhuskers Nov. 24 vs. Rutgers Scarlet Knights Nov. 1 vs. New Jersey Devils; 7:30 pm Dec. 1 Big Ten Championship Game; 8 pm; Fox Nov. 3 vs. Edmonton Oilers; 7 pm; also CBC Nov. 6 vs. Vancouver Canucks; 7:30 pm; FSD+ DETROIT PISTONS – LITTLE CAESAR’S ARENA Nov. 9 vs. N.Y. Rangers; 7:30 pm Nov. 10 at Carolina Hurricanes; 7 pm Nov. 3 at Philadelphia 76ers; 1 pm Nov. 13 vs. Arizona Coyotes; 7:30 pm Nov. 5 vs. Miami Heat; 7 pm Nov. 15 at Ottawa Senators; 7:30 pm Nov. 7 at Orlando Magic; 7 pm Nov.
    [Show full text]
  • ~Tate of M:Enne~~Ee
    ~tate of m:enne~~ee HOUSE JOINT RESOLUTION NO. 695 By Representative Shepard and Senators Crowe, Herron A RESOLUTION to honor the professional achievements of musician John Rich. WHEREAS, it is fitting that the members of this body should pause to honor those exemplary citizens who contribute significantly to the reputation of Tennessee throughout the world as the center of the music industry universe and home of the most generous and compassionate citizenry by helping to reinforce the "Volunteer State" nickname; and WHEREAS, one such citizen is John Rich who has garnered high acclaim as a singer, songwriter, record producer, and television personality over the course of his illustrious and storied career in the music and entertainment industry; and WHEREAS, Mr. Rich, born on January 7, 1974, in Amarillo, Texas, moved to middle Tennessee in the early 1990s, where he attended and graduated from Dickson County Senior High School with the class of 1992, making lifelong friends and ties with the community; and WHEREAS, after high school, Mr. Rich chose to forego college to pursue his dream of becoming a country music recording artist. In the summer of 1992, he was chosen by executives at Opryland USA to be a performer in the Nashville-based theme park's daily variety show entitled "Country Music USA," wherein Mr. Rich performed songs by country music superstars such as George Jones, Garth Brooks, George Strait, and Vince Gill; and WHEREAS, during his time at Opryland USA, Mr. Rich met fellow performer Dean Sams, who along with Mr. Rich and two other fellow Texans formed a band named Texassee.
    [Show full text]
  • ALBUMS CHART: P.20 APRIL 25,1981 0 N the Record of the Future
    SINGLES CHART: P.9: ALBUMS CHART: P.20 APRIL 25,1981 The record of the future mugENwa a 1 n 0 EXHIBITORS' STANDS are filling up fast for the 3rd annual Dealer Tour, organised by Music & Video Week and scheduled to visit seven regional centres during THE COMPACT disc, lipped by its developing companies as the record of the September. Europe's leading music business paper 90p future, seen alongside a conventional LP and the Sony and Philips CD players. Judging by (he bookings coming in, it looks as if dealers Dealer asks attending the shows will be able to meet exhibitors when is RRP THE LASER BEAM from large and small record companies as well as the newly opened not RRP? video companies. A DISPUTE over whether telling Note the dates in your the public what they can "expect COMPACT DISC to pay" for a record is the same diary now: September 15, as re-imposing RRP has been Bristol Holiday Inn; aired by dealers who object to September 17, price stickers on two recent WEA Birmingham, Albany releases. The Saxon picture disc of And MAKES ITS BOW Hotel; September 21 The Bad Played On, and the Newcastle, Gosforth Park SALZBURG: The compact the compact disc's development, to be no more expensive than a Hotel; September 22 Echo and the Bunnymen describe these as "revolutionary conventional high-class record Crocodiles 12-inch four-track disc digital audio system was improvements" which, coupled with player. J. J. G. Ch. van Tilburg of Glasgow, Albany Hotel; single, were both stickered by introduced to the September 24 Leeds, WEA with the wording "expect "substantially better sound Philips expressed confidence that to pay around £1.05".
    [Show full text]
  • 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.
    [Show full text]
  • DISTRIBUTING PRODUCTIVE PLAY: a MATERIALIST ANALYSIS of STEAM Daniel Joseph Doctor of Philosophy Ryerson University, 2017
    DISTRIBUTING PRODUCTIVE PLAY: A MATERIALIST ANALYSIS OF STEAM by Daniel Joseph Master of Arts, Ryerson University and York University, Toronto, Ontario 2011 Bachelor of Arts, Wilfrid Laurier University, Waterloo, Ontario, 2009 A dissertation presented to Ryerson University and York University in partial fulfillment for the degree of Doctor of Philosophy in the program of Communication and Culture Toronto, Ontario, Canada, 2017 © Daniel Joseph, 2017 AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A DISSERTATION I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Abstract DISTRIBUTING PRODUCTIVE PLAY: A MATERIALIST ANALYSIS OF STEAM Daniel Joseph Doctor of Philosophy Ryerson University, 2017 Valve Corporation’s digital game distribution platform, Steam, is the largest distributor of games on personal computers, analyzed here as a site where control over the production, design and use of digital games is established. Steam creates and exercises processes and techniques such as monopolization and enclosure over creative products, online labour, and exchange among game designers. Stuart Hall’s encoding/decoding framework places communication at the centre of the political economy, here of digital commodities distributed and produced by online platforms like Steam.
    [Show full text]
  • 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.
    [Show full text]
  • Canceled: Positionality and Authenticity in Country Music's
    Graduate Theses, Dissertations, and Problem Reports 2021 #Canceled: Positionality and Authenticity in Country Music’s Cancel Culture Gabriella Saporito [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Ethnomusicology Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Musicology Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Social Media Commons Recommended Citation Saporito, Gabriella, "#Canceled: Positionality and Authenticity in Country Music’s Cancel Culture" (2021). Graduate Theses, Dissertations, and Problem Reports. 8074. https://researchrepository.wvu.edu/etd/8074 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. #Canceled: Positionality and Authenticity in Country Music’s Cancel Culture Gabriella Saporito Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Travis D. Stimeling, Ph.D., Chair Jennifer Walker, Ph.D. Matthew Heap, Ph.D.
    [Show full text]
  • Recycle This, BITCH" March 10, 1999
    Vol. XX No.11 "Recycle this, BITCH" March 10, 1999 i~Ci MA 4X T w:^.. IA ··-··--~pe ISSUES -------- monsoons_- ~ararwaa~R -rra~*r~ua~%pla -r ~-~------~-4C ~- C-RC~· IB-WHO'S --~--- ~~P - ---- -- -~rm~la~lsl·I~B~B~·lP~ GOTL- C~L~P~s~s~6~~ OURbd - pC_~P- ~-~-····IP·-CPIB-D------~lr-BACK? -~-L~B ~9 1 ~L_~Llb-~·~IP~ ~------ 1~-9- CI·lll eC __LP~·C~IB1-I By Terry McLaren will make it impossible for many to stay in school at we were able to have a productive conversation. all. Remember: If you go part time, no TAP for you! Englebright denounced the proposed cuts "It should be a no-brainer to make college Then there's the incentive to graduate in to SUNY as "pure meanness" and asserted that they accessible to all," said Blair Horner, legislative coor- four years. Yes, it is possible, but not for everyone. It were an assault on the state's brightest promise- dinator for NYPIRG. He addressed an enthusiastic also is not the best choice for some. In order to SUNY. We even got down to chatting about the group of almost 400 students on their way to increase their employment potential, more and more trustees' proposed core curriculum changes. appointments with senators and assembly people. students are choosing double majors. This increases Englebright, a PhD in Geology and USB lecturer, Welcome to Higher Ed Lobby Day. the number of courses they have to take, and there- stated that it's "absurd for politicians' decision mak- When fighting against proposed cuts to fore their time of study.
    [Show full text]
  • Piatkus Non-Fiction Backlist Translation Rights
    PIATKUS NON-FICTION BACKLIST TRANSLATION RIGHTS Contents: Non-fiction p.2 Mind, Body & Spirit p.11 Health p.30 Patrick Holford p.42 Self-help/Popular Psychology p.54 Sex p.76 Memoir p.78 Humour p.87 Business p.89 ANDY HINE Rights Director (for Brazil, Germany, Italy, Poland, Scandinavia, Latin America) [email protected] KATE HIBBERT Rights Director (for the USA, Spain, Portugal, Far East and the Netherlands) [email protected] HELENA DOREE Senior Rights Manager (for France, Turkey, Arab States, Israel, Greece, Bulgaria, Czech Republic, Slovak Republic, Hungary, Romania, Russia, Serbia, Macedonia and the Baltic States) [email protected] JONATHAN HAINES Rights Assistant [email protected] Carmelite House 50 Victoria Embankment London EC4Y 0DZ Tel: +44 (0) 20 3122 6209 1 NON-FICTION CONNED by James Morton A racy, highly entertaining history of cons and conmen. To the many people who've been the subject of a con, this book will be of personal interest: even if you haven't, there's still a fascination in how it has happened to other. The great, the god and the bad, from Oscar Wilde to Al Capone, have fallen victim to the wiles of the trickster. In Capone's case, he purchased a machine from 'Count' Victor Lustig, guaranteed to produce dollar bills. Other great cons described in this alarming yet funny book are: Royal Cons, Psychic Swindlers, Fairground Cons, Sexual Swindles, and Gambling Swindles. James Morton’s previous books include the bestselling GANGLAND and EAST END GANGLAND. THE BEASTLY BATTLES OF OLD ENGLAND by Nigel Cawthorne Throughout history the English have been a warlike lot.
    [Show full text]
  • 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.
    [Show full text]
  • Swedish Pop Mafia: How a Culturally Conservative Effort in the 1940S Backfired to Create the Greatest Engine of Pop Music in the World
    Swedish Pop Mafia: How a culturally conservative effort in the 1940s backfired to create the greatest engine of pop music in the world BY WHET MOSER • March 24, 2014 • At some point over the last 15 years—sometime, say, between the 1999 release of “I Want It That Way” by the Backstreet Boys and last year’s “Roar” by Katy Perry—it became an inescapable fact that if you want to understand American pop music, you pretty much have to understand Sweden. Songwriters and producers from Stockholm have buttressed the careers of Lady Gaga, Madonna, Usher, Avril Lavigne, Britney Spears, The Backstreet Boys, Pitbull, Taylor Swift, One Direction, Maroon 5, Kelly Clarkson, and any number of other artists you’ve probably listened to while dancing, shopping, making out, or waiting on hold over the past decade. (And it’s not just American pop music that has Scandinavian fingerprints all over it: When Azerbaijan won the Eurovision contest in a 2011 upset, they did it with a song written for them by two Swedes.) If Americans are aware of this phenomenon, it is probably because they’ve heard about the legendary Swedish producer and songwriter Max Martin. There are any number of ways to express Martin’s ubiquity, but here’s one: From 2010 to 2011, the pop idol Katy Perry spent an unprecedented 69 consecutive weeks in the Billboard top 10, surpassing the previous record-holder, the 1990s Swedish group Ace of Base, by four months. But the milestone was far more of a testament to Martin’s staying power than Perry’s: Not only did he help produce and write all but one of Perry’s record- breaking string of hits, but he began his career as a producer for Ace of Base.
    [Show full text]