DOCSLIB.ORG

From Democratic to Corporate | Norient.Com 11 Oct 2021 02:05:52

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Democratic to Corporate | Norient.Com 11 Oct 2021 02:05:52 From Democratic to Corporate | norient.com 11 Oct 2021 02:05:52 From Democratic to Corporate by Cande Sánchez Olmos The ways in which music videos generate money have changed fundamentally since the days of MTV. The rise of YouTube came along with the hope for democratization, but in a context of media convergence this hope has been diluted due to corporatization of the platform. This could pose a threat to cultural diversity. From the Norient book Seismographic Sounds (see and order here). Only one video out of the top thirty most-viewed YouTube videos is not a music video, thereby confirming music’s fundamental importance to online video culture and popular entertainment. We enjoy watching music videos because they help us to construct our identity and they provide visual pleasure that helps us to interpret the world around us. Moreover, music videos also have been used to make money in a variety of ways from television to the Internet era. In that case, we will see how clips have been monetized in this period of time. https://norient.com/stories/democratic-to-corporate Page 1 of 5 From Democratic to Corporate | norient.com 11 Oct 2021 02:05:52 During the MTV era, revenue generated by music videos was primarily reserved for the major labels (which saw increases in record sales), television channels (whose audiences represented advertising revenue), and commercial brands (for whom music videos provided excellent platforms on which to advertise their products). Since the music business essentially depended on record sales, multinationals invested large sums of money in producing music videos that functioned as advertisements for bands. Music videos then represented an indirect source of revenue for record companies, as they did not control the advertising revenue the videos generated. Through YouTube, in contrast, music videos exist independently of television channels and, consequently, multinationals, independent record labels and musicians without a recording contract have opened their own channels on YouTube in order to obtain direct profits through online advertisements inserted in their videos, such as banners, commercials and displays. The Democratic Face of YouTube The emancipation of music videos from MTV represented a hope for democratization. In the MTV era, unknown bands and minority music genres encountered great difficulty in getting their music videos shown on television. By contrast, YouTube has marked a turning point in the evolution of the music video because it has initiated a process of democratization in the creation and dissemination of videos clips. A paradigmatic example is the independent rock band OK Go and their music video «Here It Goes Again». This homemade and creative video won the Grammy Award in 2007 and also put an unknown band on the music charts in various countries. OK Go showed that musicians no longer depended on record labels or TV networks to disseminate their music. OK Go may illustrate the democratic face of YouTube, but if we review the list of the top one hundred most-viewed videos on YouTube, compiled by researcher Jon E. Illescas in February 2015, we can see that none of these videos belongs to independent musicians. Therefore, a greater proportion of YouTube viewers are watching material from the major labels. One example is Vevo, a video hosting service aimed at monetizing its artists’ music videos. Vevo is owned by Google, Abu Dhabi Media, Sony Music and Universal Music. According to Social Blade, Vevo is the most-viewed channel on YouTube, with over ten billion views. This multi-channel network exclusively hosts its own artists’ channels. Other musicians can neither access Vevo nor benefit from the advantages the channel offers such as audience traffic, which translates into advertising revenue, or the network’s own promotional strategies. Although YouTube has indeed represented a process of democratization for unknown musicians, the fact remains that the most-viewed channels still belong to a multinational conglomerate. This process of the corporatization of YouTube also affects musicians without a recording contract. Increasing Corporatization https://norient.com/stories/democratic-to-corporate Page 2 of 5 From Democratic to Corporate | norient.com 11 Oct 2021 02:05:52 Unknown bands have two ways to make money on YouTube. On the one hand, any musician can open a channel and obtain advertising revenue through Google AdSense, an application that allows owners to monetize their channel. In this case, there is a direct relationship between the musician and YouTube. On the other hand, groups can seek a partner to act as an intermediary with YouTube. The partner's responsibility is to promote and optimize the channel in exchange for a percentage of the revenue generated from the videos. One of YouTube’s most important partners is Fullscreen, an American network owned by a multinational company. Fullscreen retains thirty percent of the revenue generated by musicians’ YouTube channels via AdSense, direct agreements with YouTube or other advertisers. Fullscreen is similar to Vevo, but is aimed at musicians without a recording contract. Since the partner is a stakeholder in channel profitability, musicians obtain more benefits through an intermediary than with YouTube. Therefore, the growing professionalization of YouTube is leading musicians to sign with a partner who maximizes profits. This case illustrates the increasing corporatization of YouTube, a platform that started as a showcase for amateur videos, but which is now gradually excluding from business the independent artists who initially gave meaning to this participatory platform in its early stages. Consequently, musicians are being forced to relinquish their independence and to share revenue with large companies, as happened before with the big record labels. For example, the channel of Spanish singer Xandra Garsem, with more than one hundred and forty thousand subscribers and almost twenty-six million views, received from Fullscreen only four hundred dollars for advertising in December 2014, the month with the heaviest commercial traffic. Lastly, the corporatization of YouTube could pose a threat to cultural diversity. If the value of music videos is only measured in terms of quantitative parameters (views, subscriptions and so on), minority music genres could be disadvantaged and we might lose the nuances of different cultures. A solution could be to regulate YouTube to ensure that it protects independent musicians, minority music genres and cultural content, even if these only attract a small number of views, in order to guarantee musical diversity. Through YouTube, music videos achieved emancipation from MTV enabling unknown musicians such as OK Go to achieve success. However, networks like Vevo and Fullscreen illustrate the corporatization of the platform. Music videos matter because they articulate meanings and social imaginaries that facilitate enjoyment and social interaction – they are one of the most fertile aesthetic experiences in popular culture. If music videos are only created to generate money, then our culture is in danger of becoming increasingly impoverished. The text was published first in the second Norient book Seismographic Sounds. https://norient.com/stories/democratic-to-corporate Page 3 of 5 From Democratic to Corporate | norient.com 11 Oct 2021 02:05:52 → Shop Seismographic Sounds – Visions of a New World €35.00 The second Norient book «Seismographic Sounds – Visions of a New World» introduces you to a contemporary world of distinct music and music videos. Written by 250 scholars, journalists, bloggers and musicians from 50 countries. purchase → Published on July 05, 2018 → Last updated on August 06, 2020 Cande Sánchez Olmos is a scholar writing a dissertation about brands and popular music. She worked as a cultural programmer in Fnac for seven years and now she teaches Media Semiotics and Cultural and Creative Industries at The University of Alicante (Spain). She also researches about transmedia in Spanish TV series. More about music and advertising in Musicidad. → Topics Digitization Money Music Video All Topics → Special Seismographic Sounds → Snap https://norient.com/stories/democratic-to-corporate Page 4 of 5 From Democratic to Corporate | norient.com 11 Oct 2021 02:05:52 https://norient.com/stories/democratic-to-corporate Page 5 of 5.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Tion on the Internet. but Convincing Fans to Actually Buy Their Music Is
    FEBRUARY 2005 OK Go records its While on tour in Toronto with the Kaiser Chiefs, the members of OK Go- second album, lead singer/guitarist Damian Kulash, bassist Tim Nordwind, drummer Dan "Oh No," in Malmö, Konopka and guitar/keyboard player Andy Ross -give a video copy of a Sweden, with dance routine for the song "A Million Ways" from their new album to a fan. Tore Johansson. They had teamed with Kulash's sister Trish Sie, a former professional ballroom dancer, to choreograph the number and intended to perform the dance at the end of live shows. In mid -May, the band had filmed one of the rehearsal sessions in the backyard of Kulash's Los Angeles home. OCTOBER 25 2005 The "A Million . Ways" video is featured on VH1's "Best Week Ever" as online views top 1 million. A week later, the band and a Running handful of its fans perform the dance on The band performs "A Million Ways" on "The Tonight Show With Jay "Good Morning Leno," kicking off a media blitz in connection with the album release America," and "A in which they next do the song Sept. 9 on "Mad TV." But despite the Million Ways" tops surging viewership for "A Million Ways," the video is never formally MTVu's countdown Start submitted to MTV or VH1. "We never got a giant push from them to show "The OK Go Jogs Some Serious Digital Sales On Back Of Web Buzz BY BRIAN GARRITY play it. There was just all this hoopla around the Internet activity," says Dean's List." Rick Krim, executive VP of music and talent for VH1.
    [Show full text]
  • Television & New Media
    Television & New Media http://tvn.sagepub.com/ Here We Go Again: Music Videos after YouTube Maura Edmond Television New Media 2014 15: 305 originally published online 27 November 2012 DOI: 10.1177/1527476412465901 The online version of this article can be found at: http://tvn.sagepub.com/content/15/4/305 Published by: http://www.sagepublications.com Additional services and information for Television & New Media can be found at: Email Alerts: http://tvn.sagepub.com/cgi/alerts Subscriptions: http://tvn.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://tvn.sagepub.com/content/15/4/305.refs.html >> Version of Record - Apr 8, 2014 OnlineFirst Version of Record - Nov 27, 2012 What is This? Downloaded from tvn.sagepub.com at JAMES MADISON UNIV on September 16, 2014 TVN15410.1177/1527476412 465901Television & New MediaEdmond Article Television & New Media 2014, Vol. 15(4) 305 –320 Here We Go Again: Music © The Author(s) 2012 Reprints and permissions: Videos after YouTube sagepub.com/journalsPermissions.nav DOI: 10.1177/1527476412465901 tvn.sagepub.com Maura Edmond1 Abstract At the start of the 2000s, there were dire predictions about the future of music videos. Faced with falling industry profits, ballooning production costs, and music television stations that cared more about ratings, music videos no longer enjoyed the industry support they once had. But as music videos were being sidelined by the music and television industries, they were rapidly becoming integral to online video aggregates and social media sites. The “days of the $600,000 video” might be gone, but in recent years, a new music video culture and economy has emerged.
    [Show full text]
  • Agenda Cultural Fnac Maig El Triangle
    canta al seu poble i busca la llum. Un àlbum concebut per tal de mostrar- Agenda Cultural EXPOSICIÓN se nua, sincera i compromesa amb TRIANGLE MAIG MAYO 2018 HASTA EL 31 DE MAYO el moment que viu. FLAMINGO TOURS “Lucha libre” Jueves 3 19:00h “ESTAMOS TODAS BIEN” Este nuevo álbum de Flamingo Tours De Ana Penyas. Premio tiene pocas concesiones a la inocen- Internacional Fnac-Salamandra cia, transitando por las venas profun- Graphic de Novela Gráfica y das del rock‘n’roll con cara de mujer, los pantanos del blues, el soul viejo, Premio Autor Revelación del DAVID OTERO la cocina tex-mex y un poquito de sa- Saló del Cómic de Barcelona. “1980” tanspell y de rhythm & blues. Raíces En palabras de Ana Penyas (Valencia, Dimarts 22 19:00h americanas, amor hillbilly, desiertos de 1987): “En ningún momento de los tres El nuevo álbum de David Otero no solo Nuevo Mejico y las fronteras de la piel. años que me ha llevado este proyecto ha viajado en el tiempo sino que tam- pensé que iba a exponer los originales. bién en el espacio. Nació en Portugal, “MANHATTAN” Lo que sí que he tenido tiempo de pensar creció en Marruecos y fue grabado De Diego Ojeda es en todo lo que me ha aportado: sentir a caballo entre Madrid y Barcelona. Jueves 24 19:00h el pasado, empatizar con mis abuelas, Mezclado en Toronto por Gabe Ga- Hace más de un año, el cantautor y poeta canario, precursor del movimiento poético actual, empezó a trabajar comprender su mundo, etc.
    [Show full text]
  • Karaoke Book
    10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO.
    [Show full text]
  • FEAT Guide Round 3
    Stop Touting A Guide to Personalised Tickets in Europe Contents 1. Introduction 2. Foreword 3. Step by step guide to personalising tickets 4. Individual country overview 5. Further resources 6. About FEAT Welcome If you think secondary ticketing isn’t a problem, you’d be wrong. The market was valued at €1.66bn in 2020 for Europe despite Covid, and is predicted to grow to €2.29bn by 2023 (Intellectual Research Partners). This is money drained from the live business, negatively impacting future Navigating the rules and customs of Europe can be a mineeld, especially ticket sales, bar revenues and the sale of merchandise. It also aects your when it comes to secondary ticketing. But if you scratch the surface, you’ll reputation and the trust that fans put in you, and ultimately the artist nd that it takes just a few steps and some teamwork to make sure that they’ve tried desperately to see. your tickets end up in the hands of real fans and not touts. By following the easy steps outlined in this guide, we hope to make it That’s where this guide comes in. easier to understand the landscape across Europe and how to protect your inventory, and fans, from touts. “Stop Touting: A Guide to Personalised Tickets in Europe" outlines some easy steps that you can take minimise scalping and build a fair and reliable This guide is intended as purely a summary to show that personalisation resale system for your shows. can be done successfully, without putting your neck on the line or needing a degree in ticket resale.
    [Show full text]
  • Muse Confirmed As the First Headline Group for the Nos Alive'15 Concert
    PRESS RELEASE 11 / 11 / 2014 MUSE CONFIRMED AS THE FIRST HEADLINE GROUP FOR THE NOS ALIVE’15 CONCERT LINE UP Muse is the first headline group confirmed for NOS Alive’15. The British group, considered to be one of the biggest rock bands at the moment and known for its impressive productions and live performances, will perform on the NOS stage on the 9 th of July. The band, made up by Matthew Bellamy (voice, guitar and piano), Christopher Wolstenholme (bass, voice and keyboard) and Dominic Howard (drums and percussion), have already published six albums of original songs, selling more than 20 million copies across the world. The group is currently working in the studio preparing their seventh LP whose launch is planned for 2015. Throughout their career, Muse has won numerous prizes, among which five “MTV Europe Music Awards”, six “NME Awards” and six “Q Awards”. They were also considered twice as the "Best British Live Act" at the Brit Awards, and were also nominated for five “Grammy Awards”, where they won “Best Rock Album”, with the disc “The Resistance”. The group began its last tour, presenting its sixth disc of original songs, in October 2012, performing for more than two million fans. Portugal was one of the countries visited with a single concert in the “Estádio do Dragão” (FC Porto’s football stadium). Confirmed artists: alt-J, Muse. Direção de Comunicação Corporativa & Sustentabilidade PRESS LINK Edifício Campo Grande, João Pinho Rua Ator António Silva, 9, Piso 6, Lisboa [email protected] T 217 824 700 | comunicaçã[email protected]
    [Show full text]
  • French Retailer Darty Boosts Margins Via Its Online Marketplace by Sucharita Mulpuru August 17, 2016
    FOR EBUSINESS & CHANNEL STRATEGY PROFESSIONALS Case Study: French Retailer Darty Boosts Margins Via Its Online Marketplace by Sucharita Mulpuru August 17, 2016 Why Read This Report Key Takeaways Third-party marketplaces have a reputation for C-Level Support Is Essential For Successful being lucrative, but many large multichannel Marketplace Execution retailers still struggle to drive much success Darty was able to launch its marketplace after a few after developing their own marketplaces. months of IT development work because the CEO This document analyzes the challenges and of the company explicitly endorsed the initiative. successes of French retailer Darty, which has Profits Are Likely But Not Always Large executed its marketplace well, and provides Darty’s sales from its marketplace are more lessons for other retailers as they develop their profitable than sales from owned inventory, but own marketplace strategies. the overall volume of marketplace revenue is still modest. FORRESTER.COM FOR EBUSINESS & CHANNEL STRATEGY PROFESSIONALS Case Study: French Retailer Darty Boosts Margins Via Its Online Marketplace by Sucharita Mulpuru with Fiona Swerdlow, Claudia Tajima, and Peggy Dostie August 17, 2016 Marketplaces On Retail Sites Evoke Mixed Reactions When eBusiness pros allocate and execute with adequate resources, they position themselves to experience great success with their third-party marketplaces. For years, Forrester has evangelized the idea of online marketplaces for multicategory retailers.1 Marketplaces let retailers expand their
    [Show full text]
  • Deloitte Studie
    Global Powers of Retailing 2018 Transformative change, reinvigorated commerce Contents Top 250 quick statistics 4 Retail trends: Transformative change, reinvigorated commerce 5 Retailing through the lens of young consumers 8 A retrospective: Then and now 10 Global economic outlook 12 Top 10 highlights 16 Global Powers of Retailing Top 250 18 Geographic analysis 26 Product sector analysis 30 New entrants 33 Fastest 50 34 Study methodology and data sources 39 Endnotes 43 Contacts 47 Global Powers of Retailing identifies the 250 largest retailers around the world based on publicly available data for FY2016 (fiscal years ended through June 2017), and analyzes their performance across geographies and product sectors. It also provides a global economic outlook and looks at the 50 fastest-growing retailers and new entrants to the Top 250. This year’s report will focus on the theme of “Transformative change, reinvigorated commerce”, which looks at the latest retail trends and the future of retailing through the lens of young consumers. To mark this 21st edition, there will be a retrospective which looks at how the Top 250 has changed over the last 15 years. 3 Top 250 quick statistics, FY2016 5 year retail Composite revenue growth US$4.4 net profit margin (Compound annual growth rate CAGR trillion 3.2% from FY2011-2016) Aggregate retail revenue 4.8% of Top 250 Minimum retail Top 250 US$17.6 revenue required to be retailers with foreign billion among Top 250 operations Average size US$3.6 66.8% of Top 250 (retail revenue) billion Composite year-over-year retail 3.3% 22.5% 10 revenue growth Composite Share of Top 250 Average number return on assets aggregate retail revenue of countries with 4.1% from foreign retail operations operations per company Source: Deloitte Touche Tohmatsu Limited.
    [Show full text]
  • A Prospective Cohort Study to Assess the Role of FDG-PET in Differentiating Benign and Malignant Follicular Neoplasms
    Annals of Medicine and Surgery 12 (2016) 27e31 Contents lists available at ScienceDirect Annals of Medicine and Surgery journal homepage: www.annalsjournal.com A prospective cohort study to assess the role of FDG-PET in differentiating benign and malignant follicular neoplasms * K. Alok Pathak a, c, , Andrew L. Goertzen b, Richard W. Nason a, Thomas Klonisch c, William D. Leslie b a Division of Surgical Oncology, Cancer Care Manitoba & University of Manitoba, Winnipeg Canada b Section of Nuclear Medicine, Department of Radiology, University of Manitoba, Winnipeg Canada c Department of Human Anatomy and Cell Science, University of Manitoba, Winnipeg Canada highlights Earlier meta-analyses have not considered Hürthle cell neoplasm separate from other follicular neoplasm. Hürthle cell neoplasm are known to show high FDG uptake. FDG-PET/CT can help in differentiating benign and malignant non-Hürthle cell thyroid nodules. A cut-off SUVmax of 3.25 enhances the accuracy of FDG-PET/CT in identifying cancers in thyroid nodules. article info abstract Article history: Background: Follicular and Hürthle cell neoplasms are diagnostic challenges. This prospective study was Received 2 September 2016 designed to evaluate the efficacy of [18F]-2-fluoro-2-deoxy-d-glucose (FDG) positron emission tomog- Received in revised form raphy/computed tomography (PET/CT) in predicting the risk of malignancy in follicular/Hürthle cell 26 October 2016 neoplasms. Accepted 27 October 2016 Materials and methods: Fifty thyroid nodules showing follicular/Hürthle cell neoplasm on prior ultra- sonography guided fine needle aspiration cytology (FNAC) were recruited into this study. A FDG-PET/CT Keywords: scan, performed for neck and superior mediastinum, was reported by a single observer, blinded to the Diagnosis fi Outcome surgical and pathology ndings.
    [Show full text]
  • The Winonan - 2010S the Winonan – Student Newspaper
    Winona State University OpenRiver The Winonan - 2010s The Winonan – Student Newspaper 1-20-2010 The Winonan Winona State University Follow this and additional works at: https://openriver.winona.edu/thewinonan2010s Recommended Citation Winona State University, "The Winonan" (2010). The Winonan - 2010s. 2. https://openriver.winona.edu/thewinonan2010s/2 This Newspaper is brought to you for free and open access by the The Winonan – Student Newspaper at OpenRiver. It has been accepted for inclusion in The Winonan - 2010s by an authorized administrator of OpenRiver. For more information, please contact [email protected]. WINONAN Wednesday, Jan. 20, 2010 Volume 88 Issue 12 Inside: Officials urge students to be counted Students account for one third of the population in Winona News Why the Census is Important One-year Census information affects the anniversary of numbers of seats your state the smoking ban occupies in the U.S. House of Representatives. When you do the math, it's easy to see what an accurate count of residents can do for Arts your community. OK Go: The information the census A Prince collects helps to determine influence? how more than $400 billion of federal funding each year is spent on infrastructure and services like: Hospitals Job training centers C Google Schools Senior centers Sports Bridges, tunnels and other public works projects Emergency services Women's www.2010.census.gov basketball Rory O'DriscolVWinonan defeats Wayne Bob Bambenek, the City Recorder, discusses the importance of completing census State 71-67 forms Wednesday morning at the Riverport Inn in Winona. Amanda Rehrauer "We view WSU as extremely important," bucks.
    [Show full text]
  • Fnac and Deezer Announce a Strategic Alliance
    Press Release – Tuesday, March 14, 2017 FNAC AND DEEZER ANNOUNCE A STRATEGIC ALLIANCE FNAC, a leading distributor of cultural and technical products, and Deezer, the world’s most diverse, dynamic and personal music streaming company, have announced an exclusive long-term international strategic alliance, designed to strengthen their leadership in the music market. As part of this strategic partnership, Fnac may become a Deezer shareholder. The evolution of the music market continues with the growth of digital, where streaming (which complements usage in the physical and live market) is now the dominant method of consumption. As a result of this, Fnac, the top music store and ticket vendor in France, and Deezer have decided to join forces in order to bolster the growth of their respective businesses. The alliance enables both companies to build bridges between the various music markets (physical, digital and live) and to offer the public new services, thereby developing new growth drivers which will ultimately benefit the entire music industry. This major sales partnership in Fnac’s physical and digital networks will accelerate the recruitment of new Deezer customers. The success of this acceleration will allow Fnac to become a Deezer shareholder. Fnac and Deezer are putting in place a commercial network that combines their respective strengths: - Starting from the second half of 2017, Fnac and Darty customers will benefit from access offers to Deezer services, particularly when it comes to buying audio and music products (CDs, speakers, headphones, etc.) or membership programs. - Thanks to Deezer, Fnac customers will now be able to listen to music before buying it, not only at Fnac.com but also in stores.
    [Show full text]