Ben Cook Appoints Magnus Ribbeklint As General Manager, Atlantic Records Uk
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UNITED STATES SECURITIES and EXCHANGE COMMISSION Washington, D.C
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-Q (Mark One) x QUARTERLY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the quarterly period ended June 30, 2013 OR ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 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.) 75 Rockefeller Plaza New York, NY 10019 (Address of principal executive offices) (212) 275-2000 (Registrant’s telephone number, including area code) Indicate by check mark whether the Registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes ¨ No x Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any, every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such files). Yes x No ¨ Indicate by check mark whether the Registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer or a smaller reporting company. -
Global Music Report 2018 ANNUAL STATE of the INDUSTRY
Global Music Report 2018 ANNUAL STATE OF THE INDUSTRY Global top 10 recording artists of 2017 Untitled-3 1 3/4/18 3:58 PM GLOBAL MUSIC REPORT 2018: STATE OF THE INDUSTRY Welcome · 3 Welcome As an artist, I am privileged to perform One of the crucial roles for record com- before audiences around the world and panies is to support and invest in artists see first-hand how essential music is for and to help them develop for their greatest people from every walk of life. creative and commercial success, so that But even as music’s essence is endur- their music can be enjoyed by fans around ing, much about music is changing. the world. The IFPI Global Music Report tells the It is therefore essential that all music cre- PLÁCIDO DOMINGO story of recorded music’s ongoing journey. ators are fairly compensated for their work. I CHAIRMAN, IFPI Today, artists are reaching music fans in have met with policymakers in Europe and ways I never could have imagined when I elsewhere to call on them to back legislation began my own career. Music is global and that would support this by addressing the increasingly digital. This transformation value gap, thereby ensuring a fair and bal- has been fundamental and rapid and offers anced digital marketplace for all. great opportunities. We are living in an incredibly exciting But we can never forget that music time for recorded music. We must persevere does not just happen. It requires the hard with our efforts to ensure its journey benefits work, commitment, investment and artist- the music creators and fans of today, and ry of so many people. -
No More Black and Blue
ARIADNE: A Social Art Network Violence Against Women AgainstViolence.ART Volume 14 Number 4 April 2008 418-436 © 2008 Sage Publications 10.1177/1077801208314832 No More Black and Blue http://vaw.sagepub.com hosted at Women Against Violence Against http://online.sagepub.com Women and the Warner Communications Boycott, 1976–1979 Carolyn Bronstein DePaul University In the mid-1970s, Women Against Violence Against Women (WAVAW), the first national feminist organization to protest mediated sexual violence against women, pressured the music industry to cease using images of violence against women in its advertising. This article presents a case study of WAVAW’s national boycott of Warner Communications, Inc. and documents the activists’ successful consumer campaign. The study reveals that media violence was central to feminist organizing efforts, and that WAVAW and related organizations helped establish a climate of concern about vio- lence that motivated scientific research on the relationship between exposure to media violence and subsequent aggression. Keywords: advertising; grassroots organizing; media violence; music industry rom high above the storied Sunset Strip on a glorious June day, a bound and Fbruised woman on a billboard gazed down at the citizens of Los Angeles. She was the centerpiece of a new advertising campaign for the Rolling Stones’s 1976 album Black and Blue, part of a national promotion by Atlantic Records that featured print ads, radio spots, and in-store displays. At 14 by 48 feet, she dominated the busy sky- line, and traffic snarled up and down the boulevard as drivers slowed to get a better look. The woman wore a lacy white bodice, strategically ripped to display her breasts. -
Skivbolagsbranschen Och Internet
Södertörns högskola | Institutionen för ekonomi och företagande Kandidatuppsats 15 hp | Marknadsföring | Vårterminen 2009 Skivbolagsbranschen och Internet – en jämförelse mellan major- och indiebolag Av: Johan Sundblom, Mathias Lindqvist Handledare: Lars Vigerland 2009-07-09 Handledare Lars Vigerland Södertörns Högskola Kandidatuppsats i Marknadsföring Skivbolagsbranschen och internet en jämförelse mellan major- och indiebolag Författare: Johan Sundblom Mathias Lindqvist Handledare: Lars Vigerland Johan Sundblom 850612-9017 Mathias Lindqvist 850509-3271 2009-07-09 Handledare Lars Vigerland Sammanfattning Titel: Skivbolagsbranschen och Internet – en jämförelse mellan major- och indiebolag Författare: Johan Sundblom, Mathias Lindqvist Handledare: Lars Vigerland Institution: Institutionen för ekonomi och företagande, Södertörns högskola Kurs: Kandidatuppsats i företagsekonomi, 15 poäng Syfte: Att analysera och klargöra skillnader mellan major- och indiebolags användning av, och attityder gentemot, Internet och internetbaserade tekniker som marknadsförings- och distributionskanal. Metod: Vi använder oss av en till största delen kvalitativ metod, dock med vissa kvantitativa inslag. Intervjuer har genomförts med fyra skivbolag, två indiebolag och två majorbolag. Även observationer av skivbolagens verksamhet på Internet har utförts. Slutsatser: Ett antal skillnader har kunnat utläsas efter utförd studie. Indiebolagen står i högre grad än majorbolagen för utveckling och innovation i branschen. Marknadsföringsmässigt så använder sig indiebolagen -
2020'S BEST MUSIC MARKETING CAMPAIGNS
BROUGHT TO YOU COURTESY OF ™ AMP IN ASSOCIATION WITH sandbox DECEMBER 09 2020 | Music marketing for the digital era ISSUE 266 2020’s BEST MUSIC MARKETING CAMPAIGNS Songtrust has the world's largest and most accessible network of direct global publishing relationships. Our easy to use platform enables you, and our 300,000+ clients, to register and collect performance and mechanical royalties directly around the world, without giving up any rights or any other revenues. ACCESS WHAT YOU'RE DUE SPONSOR PAGE PANDORA STORIES With Pandora Stories, artists and creators can add their voices to playlists and mixtapes. It’s the newest addition to AMP, Pandora’s suite of free and powerful tools for creators. The ability to combine music and storytelling allows artists to give their music more context while forging an even deeper connection with their fans, new and old. Artists can: • Share the stories behind the making of their music – influences, recording process, etc. • Supplement a podcast with a companion playlist using their own voice tracks. • Create a virtual setlist, complete with between song banter. • Program and promote career retrospectives, or deep dives into single albums. • Share their current favorite music with their fans. • Offer custom exclusive Stories as a premium or special offering for supporters on crowdfunding platforms. SANDBOX CAMPAIGNS OF THE YEAR 2020 2020’s BEST MUSIC MARKETING CAMPAIGNS elcome to Sandbox’s shortlist we had a record number of entries, from labels of the best, most original, and of all sizes from around the world. W most impactful music marketing campaigns of 2020. It’s a celebration of We’re very grateful for everyone who submitted remarkably innovative and creative work across campaigns for consideration – and we hope that a vast array of genres, with many notable in these campaigns you find a wealth of brilliant achievements notched up along the way. -
Archived Press Release: Brightcove Leads “Future of Online Music Videos”Panel at SXSW 2010
Archived Press Release: Brightcove Leads “Future of Online Music Videos”Panel at SXSW 2010 Joined by industry leaders from Sony Music Entertainment, VEVO, Atlantic Records and NARM AUSTIN, Texas, March 11, 2010— ● WHAT: The “Future of Online Music Videos”panel will highlight how music videos have long been a critical extension of a record label’s brand. Until recently, labels have found it difficult to mitigate online video piracy without alienating the user communities built around music. Now, labels are embracing sophisticated online video technology strategies to do just that, while also introducing new revenue and distribution opportunities. ● WHO: Nick Stahl, director of strategic accounts at Brightcove; John Sasso, senior director of online sales strategy and operations at Sony Music Entertainment; Alexander Kisch, vice president of business affairs and business development at VEVO; Bill Wilson, director of digital strategy and business development at the National Association of Recording Merchandisers (NARM); Eric Snowden, senior creative director and product development lead at Atlantic Records ● WHERE: SXSW 2010 Music Conference Austin Convention Center Room 16B ● WHEN: Friday, March 19, 2010, 12:30 – 1:30 PM CT For more information, please visit http://my.sxsw.com/events/event/681. About Brightcove Brightcove is a cloud-based online video platform. Media companies, businesses and organizations worldwide use Brightcove to publish and distribute video on the Web. Founded in 2004, Brightcove has offices across North America, Europe and Asia and customers in 42 countries. For more information, visit http://www.brightcove.com. Press Contacts North America Erika Shaffer SutherlandGold Group for Brightcove 206-972-5514 [email protected]. -
IFPI Norges Årsrapport
Musikkåret 2017 IFPI Norges årsrapport SIGRID Foto: Petroleum Records Design: Anagramdesign . no Innhold årsrapport 2017 Innledning ................... 3 KYGO ....................... 5 Sammendrag av musikk- undersøkelsen 2017 ........... 6 Statistikk..................... 7 Fornyelse av opphavsretten i Norge og Europa – del 2 ..... 10 Cezinando ................... 11 Spellemann 2017 ............ 12 Astrid S..................... 14 United Screens – Topplista.... 15 Hkeem & Temur ............. 16 FORSIDE: Alan Walker ................. 17 Streaming topp20 2017 ...... 18 Streaming, norsk topp20 2017 19 SIGRID Album topp20 2017......... 20 Norges nye popkomet tok oss med storm Radio topp20 2017 .......... 21 Totalsalget av innspilt med låten «Don’t Kill My Vibe» i 2017. Hun fikk mye oppmerksomhet internasjo- Gabrielle .................... 22 musikk i Norge går opp nalt og var både på «The Tonight Show Seeb ....................... 23 2,1 % fra 2016 til 2017 starring Jimmy Fallon» og «The Late Late Troféoversikt 2017 ........... 24 Show with James Cordon». Etter flere kon- og streaming står nå serter både i Norge og i utlandet, har hun IFPI Insight 2017............. 26 for hele 85 % av salget. også vært opptatt med å lage sin debut Vidar Villa................... 27 album som forhåpentligvis kommer ut Dagny ...................... 28 i 2018. Hun var nominert til to priser under Spellemann 2017 og vant prisen for Årets IFPI Norge .................. 29 Nykommer & Gramostipend. 2 Innledning 2017 var et nytt godt år i norsk musikkindustri og nordmenn fortsetter å streame musikk som aldri før. Totalsalget av innspilt musikk i Norge er opp 3,7 % fra 2016 til 2017 og streaming står nå for hele 85 % av salget av innspilt musikk i Norge. Årstallene for 2017 viser at det ble solgt Det totale fysiske salget (CD, vinyl osv.) innspilt musikk for hele kr. -
Language Is an Extremely Powerful Tool, Allowing Us to Generate Ideas, Share Stories, Communicate Our Perspectives, and Learn from Others
RACIAL EQUITY GLOSSARY Language is an extremely powerful tool, allowing us to generate ideas, share stories, communicate our perspectives, and learn from others. A single word can evoke hatred or hope, fear or friendship, power or peace. Curated in partnership with the Off-Color ERG, the following list is by no means comprehensive. It is intended to provide insight as part of a larger education on race and bias, and to encourage people to feel comfortable speaking openly with each other about these issues. ALLY Noun. Someone who supports equal human rights and civil rights; advocates on behalf of a marginalized person or group of people; and challenges discrimination. ANTIRACISM Noun. The work to actively defy racism by advocating for racial equality and supporting policies, systems, and structures that reduce racial inequity. BIAS Noun, transitive verb. A mindset in favor of or against a thing, idea, person, or group of people, that is usually unfair or prejudiced. Bias can be conscious (i.e., knowingly having a prejudicial view of a group of people) or unconscious (i.e., unknowingly assuming something about someone just because they belong to a group of people), and can lead to discrimination. CIVIL RIGHTS Noun. Certain basic freedoms legally afforded to citizens by a government. COLORISM Noun. A type of prejudice that judges people based on the lightness or darkness of their skin. This kind of prejudice usually exists within a race or ethnicity and often sees people who are part of the same race or ethnicity judging, subcategorizing, and stereotyping each other. CULTURE Noun. An umbrella term for the social behaviors and norms within a society or community. -
Warner Music Group & Atlantic Records
Christine Osazuwa Marketing Plan November 19, 2010 Warner Music Group & Atlantic Records Company History & Overview Warner Music Group Warner Music Group Corporation is the world’s only publically traded major music company. WMG operates all over the world; its best-known labels include Atlantic, Elektra, Reprise, Rhino, Roadrunner and Warner Brothers. In addition to distribution and labels, WMG offers artist management and music publishing. Warner Music Group (WMG) began in the 1800s, with sheet and classical music. By the early 1900s, WMG had procured exclusive rights to the Vitaphone. In 1929, Jack Warner found Music Publishers Holding Company to acquire music copyrights for use in films. In 1947, Ahmet Ertehun and Herb Abramson found Atlantic Records. Three years later Jac Holzman found Elektra Records. Word Records was founded in 1951 as one of the first companies in contemporary Christian music. Warner Brothers Records was founded in 1958 as a soundtrack factory for Warner Brothers movie studio, and two years late Frank Sinatra created Reprise Records. Warner Bros and Reprise merge in 1963. In 1970, Elektra and Nonesuch Records become part of Kinney National, which became Warner Communications and forms Warner- Elektra-Atlantic (WEA Corporation), which is the first major music distribution company in the US. 1986 brought WEA Manufacturing, the company’s first CD manufacturing plant as well as further international expansion. Warner merges with Time, Inc to form Time Warner and 1 | P a g e Christine Osazuwa Marketing Plan November 19, 2010 becomes, at the time, the world’s largest music publisher. Throughout the 1990s, Time Warner was the largest media company in the world. -
2017 Music Business Attendee List As of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017
2017 Music Business Attendee List as of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES 7Digital Amazon (cont’d) James Priestley Dave Dederer VP, Business Development Head of Programming Jamie Ross Kristin Durie Head of Music Partnerships Sr. Label Relations Mgr. John Farrey All Media Supply Assoc. Label Relations Mgr. Robbie Defreitas Josh Fein VP Sr. Mgr. Marketing & Acquisition Todd Oenbrink Chris Graham Sales Dir. Sr. Artist Relations Mgr. Sean Hallarman Alliance Entertainment Music Editorial Mgr. Marc Bartlett Alex Luke Sr. VP, Sales & Marketing Dir., Global Content Programming Terri Borders Nicole Lund Talent Aquisition Sr. Label Relations Mgr. Jason Bright Dan Minamide VP, Walmart Account Exec. Assoc. Label Relations Mgr. Ken Glaser Rob Morse VP, Sales Operations Mgr. Thuy Ngo Lisa Nicholas-Ritscher VP, Marketing DIRECT2U Content Editor, Media & Movies Bruce Ogilvie Aly Proctor Chairman Music Vendor Mgr. Laura Provenzano Ryan Redington Sr. VP, Purchasing & Marketing Dir., US Digital Music Jeff Walker Jeff Reguilon CEO Mgr., Content Programming Elizabeth Reynolds Amazon Brand Specialist, Music Natasha Bishop Jack Rutledge Music Sales Mgr. Sr. Mgr., Catalog & Selection Nathan Brackett Andrew Sexton Sr. Editorial Mgr. Label Relations Mgr. Jill Chapman Adam Steiner Digital Media Operations Mgr. Sr. Content Producer Cindy Charles David Stuart Head of Business Development Assoc. Label Relations Mgr. Anthony Coorey Mary Tastet Partner Marketing Mgr. Sr. Content Program Mgr. Rosie de la Mare Laura Tulli Sr. Content Program Mgr. Music Marketing Mgr. 1 2017 Music Business Attendee List as of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES Amazon (cont’d) Apple Music (cont’d) Elan Wang Brian Pesaturo Head of Music Vendor Management Label Relations Cody Wescott Matthew Plotnik Brand Specialist, Music Head, Music Marketing Brandon Reese AMPED Technical Product Mgr. -
Warner Music Group Corp. (Exact Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-Q (Mark One) x QUARTERLY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the quarterly period ended March 31, 2013 OR ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 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.) 75 Rockefeller Plaza New York, NY 10019 (Address of principal executive offices) (212) 275-2000 (Registrant’s telephone number, including area code) Indicate by check mark whether the Registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes ¨ No x Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any, every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such files). Yes x No ¨ Indicate by check mark whether the Registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer or a smaller reporting company. -
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 ___________________________________________________________________________________________