Annual Report 1993 Year Ended March 31, 1993
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Sony Corporation – Restructuring Continues, Problems Remain
BSTR/361 IBS Center for Management Research Sony Corporation – Restructuring Continues, Problems Remain This case was written by Indu P, under the direction of Vivek Gupta, IBS Center for Management Research. It was compiled from published sources, and is intended to be used as a basis for class discussion rather than to illustrate either effective or ineffective handling of a management situation. 2010, IBS Center for Management Research. All rights reserved. To order copies, call +91-08417-236667/68 or write to IBS Center for Management Research (ICMR), IFHE Campus, Donthanapally, Sankarapally Road, Hyderabad 501 504, Andhra Pradesh, India or email: [email protected] www.icmrindia.org BSTR/361 Sony Corporation – Restructuring Continues, Problems Remain “Seven out of eight years, Sony has failed to meet its own initial operating profit forecast. This is probably the worst track record amongst most major exporters. That means that either management is not able to anticipate challenges … or they fail on execution almost every time. Either way, it does not reflect well on Sony’s management.”1 - Atul Goyal, Analyst, CLSA2, in January 2009. SONY IN CRISIS, AGAIN In May 2009, Japan-based multinational conglomerate, Sony Corporation (Sony) announced that it posted its first full year operating loss since 1995, and only its second since 1958, for the fiscal year ending March 2009. Sony announced annual loss of ¥ 98.9 billion3, with annual sales going down by 12.9% to ¥ 7.73 trillion. Sony also warned that with consumers worldwide cutting back on spending in light of the recession, the losses could be to the extent of ¥ 120 billion for the year ending March 2010 (Refer to Exhibit IA for Sony‘s five year financial summary and Exhibit IB for operating loss by business segment). -
AP1 Companies Affiliates
AP1 COMPANIES & AFFILIATES 100% RECORDS BIG MUSIC CONNOISSEUR 130701 LTD INTERNATIONAL COLLECTIONS 3 BEAT LABEL BLAIRHILL MEDIA LTD (FIRST NIGHT RECORDS) MANAGEMENT LTD BLIX STREET RECORDS COOKING VINYL LTD A&G PRODUCTIONS LTD (TOON COOL RECORDS) LTD BLUEPRINT RECORDING CR2 RECORDS ABSOLUTE MARKETING CORP CREATION RECORDS INTERNATIONAL LTD BOROUGH MUSIC LTD CREOLE RECORDS ABSOLUTE MARKETING BRAVOUR LTD CUMBANCHA LTD & DISTRIBUTION LTD BREAKBEAT KAOS CURB RECORDS LTD ACE RECORDS LTD BROWNSWOOD D RECORDS LTD (BEAT GOES PUBLIC, BIG RECORDINGS DE ANGELIS RECORDS BEAT, BLUE HORIZON, BUZZIN FLY RECORDS LTD BLUESVILLE, BOPLICITY, CARLTON VIDEO DEAGOSTINI CHISWICK, CONTEMPARY, DEATH IN VEGAS FANTASY, GALAXY, CEEDEE MAIL T/A GLOBESTYLE, JAZZLAND, ANGEL AIR RECS DECLAN COLGAN KENT, MILESTONE, NEW JAZZ, CENTURY MEDIA MUSIC ORIGINAL BLUES, BLUES (PONEGYRIC, DGM) CLASSICS, PABLO, PRESTIGE, CHAMPION RECORDS DEEPER SUBSTANCE (CHEEKY MUSIC, BADBOY, RIVERSIDE, SOUTHBOUND, RECORDS LTD SPECIALTY, STAX) MADHOUSE ) ADA GLOBAL LTD CHANDOS RECORDS DEFECTED RECORDS LTD ADVENTURE RECORDS LTD (2 FOR 1 BEAR ESSENTIALS, (ITH, FLUENTIAL) AIM LTD T/A INDEPENDENTS BRASS, CHACONNE, DELPHIAN RECORDS LTD DAY RECORDINGS COLLECT, FLYBACK, DELTA LEISURE GROPU PLC AIR MUSIC AND MEDIA HISTORIC, SACD) DEMON MUSIC GROUP AIR RECORDINGS LTD CHANNEL FOUR LTD ALBERT PRODUCTIONS TELEVISON (IMP RECORDS) ALL AROUND THE CHAPTER ONE DEUX-ELLES WORLD PRODUCTIONS RECORDS LTD DHARMA RECORDS LTD LTD CHEMIKAL- DISTINCTIVE RECORDS AMG LTD UNDERGROUND LTD (BETTER THE DEVIL) RECORDS DISKY COMMUNICATIONS -
Inakustik/Music Video Distributors Jazz/Blues Blu-Ray Concert
Inakustik/Music Video Distributors Jazz/Blues Blu-ray Concerts (Autou... http://www.fulvuedrive-in.com/review/8856/Inakustik/Music+Video+Dis... Find Category: Home > Reviews > Jazz > Blues > Pop > Inakustik/Music Video Distributors Jazz/Blues Blu-ray Concerts (Autour Du Blues/Jose Feliciano Band/Stanley Jordan Trio/Mike Stern Band/Yellowjackets: New Morning Paris/Ohne Filter DVD/Lifecycle SACD) Inakustik/Music Video Distributors Jazz/Blues Blu-ray Concert Wave (Autour Du Disc Duplication Blues/Jose Feliciano > The Green Hornet (1940) + Systems Band*/Stanley Jordan The Green Hornet Strikes CD/DVD/BD Again! (1941/VCI DVD Sets) Trio*/Mike Stern Band/Yellowjackets: New Duplicators, > Torchwood – The Complete Printers and Disc Second Season (BBC Blu-ray) Morning Paris [*w/DVD Version]) > The Middleman – The + Yellowjackets In Concert: Wrappers, Complete Series (2008/Shout! Ohne Filter 1994 DVD + Supplies & Advice! www.SummationTechnology.com Factory) Yellowjackets Featuring Mike > Doctor Who – Planet Of The Stern – Lifecycle SA-CD (Heads Dead (2009/BBC Blu-ray) Up Super Audio CD/SACD/2008) > The Spectacular Spider-Man Blu Ray – The Complete First Season Picture: B-/C+ Blu-ray Sound: B (Marvel/Sony Wonder DVD) Download DVD Sound B/B- SA-CD Sound: B- WinDVD ® 9 Plus > Marple – Series Four (2008 – (PCM)/B (2.0 DSD Stereo)/B+ (5.1 2009/Acorn DVD) Blu-ray from Corel DSD) Extras: C- Concerts/Album: ® & Start Using It > The Soloist B- (2009/DreamWorks/Paramount Now! Blu-ray + DVD) www.Corel.com > Super Why – Jack & The Beanstalk and other fairytale The concerts released by Inakustik adventures (PBS Home through Music Video Distributors is the Video/Paramount DVD) longest and most numerous in all of 24 Hours 1-7 DVD > Life On Mars – Series One home video, from the Ohne Filter TV $89 (2006/British TV/Acorn DVD) + series to the New Morning – The Paris Concert series. -
Sony Corporation Names Anthony Vinciquerra Chairman and Chief Executive Officer, Sony Pictures Entertainment
SONY CORPORATION NAMES ANTHONY VINCIQUERRA CHAIRMAN AND CHIEF EXECUTIVE OFFICER, SONY PICTURES ENTERTAINMENT [Culver City, CA – May 11, 2017] Sony Corporation today announced that Anthony Vinciquerra will become Chairman and Chief Executive Officer of Sony Pictures Entertainment (SPE), starting on June 1 and reporting to Sony Corporation President and CEO Kazuo Hirai. Vinciquerra will replace SPE Chairman and CEO Michael Lynton, who announced in January that he would step down this spring. Vinciquerra will oversee the studio’s corporate groups and its lines of business: SPE’s Motion Picture Group, Sony Pictures Television and SPE’s Worldwide Media Networks division. Vinciquerra comes to Sony Pictures with deep experience in the media, entertainment and tech spaces. He is currently Senior Advisor to Texas Pacific Group in the Technology, Media and Telecom sectors, where he has focused on TPG’s Capital, Growth and Opportunity investing arenas, as well as digital and emerging technologies and their impact on the distribution and consumption of film and TV content. Prior to TPG, Vinciquerra spent almost 10 years at Fox where he served as Chairman and CEO of Fox Networks Group, the largest operating unit of News Corporation. Before Fox, Vinciquerra was with Hearst Corporations broadcasting group and CBS’s television group. “Tony is a proven, results‐oriented leader with extensive experience running and driving growth in large, complex media and entertainment businesses,” said Hirai. “His operating skills, effectiveness working with creative teams and expertise in managing digital disruption and new technologies make him the perfect choice to lead SPE, and build on the studio’s turnaround efforts to date. -
AD Mike Bohn Could Leave for USC Pg. 3
The News Record @NewsRecord_UC /TheNewsRecord @thenewsrecord Wednesday, November 6, 2019 HOMECOMING 2O19 pg. 3 | Homecoming pg. 4 | What will go in pg. 8 | AD Mike Bohn events around campus UC’s time capsule? could leave for USC PHOTO: ANDREW HIGLEY | UNIVERSITY OF CINCINNATI November 6, 2019 Page 2 The elusive dining hall only marketed to athletes QUINLAN BENTLEY | STAFF REPORTER website. Some have even taken to social media to protest what they say is UC’s Tucked quietly away on the 700 level of lack of transparency, while others view the the Richard E. Lindner Center, a little- facility’s existence as inconsequential. known dining facility has stirred up debate “[One] reason student athletes are likely surrounding preferential treatment of more aware of the facility is because student athletes. student-athletes’ meal plans support the The Varsity Club is a dining facility that operations of the facility,” said Reilly. “It debuted last fall as a partnership between doesn’t meet most students’ needs as do Food Services and UC Athletics to lessen other campus dining options that have demand at the university’s other dining wider food selections and continuous hours facilities in response to rising enrollment of operation from early morning to late and to better meet student athletes’ night,” she said. nutritional needs. Considering National Collegiate Before its transformation, the space was Athletic Association (NCAA) regulations originally titled the Seasongood Dining that prohibit universities from giving Room and was a faculty dining facility preferential treatment to student athletes, operated by the nonprofit Cincinnati Faculty Wentland said he views this lack of Club, Inc. -
M-Phazes | Primary Wave Music
M- PHAZES facebook.com/mphazes instagram.com/mphazes soundcloud.com/mphazes open.spotify.com/playlist/6IKV6azwCL8GfqVZFsdDfn M-Phazes is an Aussie-born producer based in LA. He has produced records for Logic, Demi Lovato, Madonna, Eminem, Kehlani, Zara Larsson, Remi Wolf, Kiiara, Noah Cyrus, and Cautious Clay. He produced and wrote Eminem’s “Bad Guy” off 2015’s Grammy Winner for Best Rap Album of the Year “ The Marshall Mathers LP 2.” He produced and wrote “Sober” by Demi Lovato, “playinwitme” by KYLE ft. Kehlani, “Adore” by Amy Shark, “I Got So High That I Found Jesus” by Noah Cyrus, and “Painkiller” by Ruel ft Denzel Curry. M-Phazes is into developing artists and collaborates heavy with other producers. He developed and produced Kimbra, KYLE, Amy Shark, and Ruel before they broke. He put his energy into Ruel beginning at age 13 and guided him to RCA. M-Phazes produced Amy Shark’s successful songs including “Love Songs Aint for Us” cowritten by Ed Sheeran. He worked extensively with KYLE before he broke and remains one of his main producers. In 2017, Phazes was nominated for Producer of the Year at the APRA Awards alongside Flume. In 2018 he won 5 ARIA awards including Producer of the Year. His recent releases are with Remi Wolf, VanJess, and Kiiara. Cautious Clay, Keith Urban, Travis Barker, Nas, Pusha T, Anne-Marie, Kehlani, Alison Wonderland, Lupe Fiasco, Alessia Cara, Joey Bada$$, Wiz Khalifa, Teyana Taylor, Pink Sweat$, and Wale have all featured on tracks M-Phazes produced. ARTIST: TITLE: ALBUM: LABEL: CREDIT: YEAR: Come Over VanJess Homegrown (Deluxe) Keep Cool/RCA P,W 2021 Remi Wolf Sexy Villain Single Island P,W 2021 Yung Bae ft. -
Playstation Fiesta Bowl and the Cactus Bowl
#41 BEST INDIVIDUAL SPONSOR FOLLOW UP REPORT ifea submission 2018 41) BEST INDIVIDUAL SPONSOR FOLLOW-UP REPORT Overview Information Introduction and Description of Main Event The first Fiesta Bowl game was played in 1971 after much effort from a group of nine visionary business leaders who worked tirelessly to bring a post-season college football game to the state of Arizona. Since that time, the Fiesta Bowl organization has grown into much more than just one game. The Fiesta Bowl’s vision is to be a world-class community organization that executes innovative experiences, drives economic growth and champions charitable causes, inspiring pride in all Arizonans. As a nonprofit organization, we believe in the importance of fostering a culture of community outreach and service. Based in Scottsdale, the Fiesta Bowl hosts a variety of local events each year, as well as two elite bowl games – the PlayStation Fiesta Bowl and the Cactus Bowl. Together, these two events generate $170 million in economic impact for the State of Arizona.* In 2014, the Fiesta Bowl became a part of the College Football Playoff along with five other storied Bowl Games, collectively “The New Year’s Six.” Each season, the Fiesta Bowl matchup is determined by an independent selection committee tasked with ranking the top 25 teams in the nation, placing the top four teams in designated Semifinal games and the remaining eight teams in the “Host Bowls.” The Fiesta Bowl is a College Football Playoff Semifinal game every three years, beginning in 2016 and again in 2019. The Fiesta Bowl is played at University of Phoenix Stadium in Glendale, Arizona with a stadium capacity of 68,000+. -
80 the MARKET Sony Corporation Is a Leading
THE MARKET a very small group of young peo- Sony Corporation is a leading man- ple with the energy and passion for ufacturer of audio, video, communi- unlimited creation. cations, and information technology This passion and creativity products for the consumer and pro- eventually led to the development of fessional markets. Additionally, the Sony’s Trinitron TV in 1968, which company’s music, motion picture, set the world standard for high television-production, game, and quality in home theater products. online businesses make Sony one of As a proponent of global oper- the most comprehensive entertain- ations based on a local presence, ment companies in the world. Morita set up manufacturing plants all over the world. Its Trinitron® ACHIEVEMENTS color television assembly plant Today, Sony employs almost 170,000 in San Diego, California, built in people worldwide, with almost 1972, was the first consumer elec- 22,000 working in the United States. tronics manufacturing facility built For fiscal year 2001, Sony Corpor- in the United States by a Japanese- ation had total sales of more than based company. $56.9 billion, with the electronics Morita’s deep confidence in segment making up more than two- another legendary Sony product, thirds of the revenues. the Walkman personal stereo, was Sony Electronics Inc. (SEL), the key factor in its ultimate formerly known as Sony Corpor- success. While retailers were ation of America, was established in initially resistant, the Walkman 1960 to oversee Sony’s sales and stereo’s compact size and excel- marketing activities in the United lent sound quality attracted con- States. -
Sony DME-7000 DME-3000
SONy DME-7000 DME-3000 Product Guide SONy Digital Multi Effects Systems • DME-7000 • DME-3000 • Product Guide Part Number BC-00584 Revision B, September 1997 Printed in U.S.A. Copyright © 1997 Sony Electronics Inc. All rights reserved. Neither this guide nor the software described herein, in whole or in part, may be reproduced, translated or reduced to any machine readable form without prior written approval from Sony Electronics Inc. · Sony is a registered trademark of Sony Electronics Inc. · Betacam, Betacart, Jumbotron, and Umatic are registered trademarks of Sony Electronics Inc. · Z-Ring, Keyframe-LINK, Digital SKETCH, Advanced Shadow, Digital SPARKLE, DME-LINK, E-File™, and Library Management System are trademarks of Sony Electronics Inc. Notice to Users SONY PROVIDES NO WARRANTY WITH REGARD TO THIS GUIDE, THE SOFTWARE OR OTHER INFORMATION CONTAINED HEREIN, AND HEREBY EXPRESSLY DISCLAIMS ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE WITH REGARD TO THIS GUIDE, THE SOFTWARE OR SUCH OTHER INFORMATION. IN NO EVENT SHALL SONY BE LIABLE FOR ANY INCIDENTAL, CONSEQUENTIAL OR SPECIAL DAMAGES, WHETHER BASED ON TORT, CONTRACT, OR OTHERWISE, ARISING OUT OF OR IN CONNECTION WITH THIS GUIDE, THE SOFTWARE OR OTHER INFORMATION CONTAINED HEREIN OR THE USE THEREOF. Sony reserves the right to make any modification to this guide or the information contained herein at any time without notice. The software described herein may also be governed by the terms of a separate end use license agreement. All features, functions, and specifications are subject to change without notice. SONY Contents Introduction 1 About This Guide................................................................................................................. 1 Features and Benefits 3 DME-3000/7000 Feature Overview..................................................................................... -
TELEVISION and VIDEO PRESERVATION 1997: a Report on the Current State of American Television and Video Preservation Volume 1
ISBN: 0-8444-0946-4 [Note: This is a PDF version of the report, converted from an ASCII text version. It lacks footnote text and some of the tables. For more information, please contact Steve Leggett via email at "[email protected]"] TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1 October 1997 REPORT OF THE LIBRARIAN OF CONGRESS TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1: Report Library of Congress Washington, D.C. October 1997 Library of Congress Cataloging-in-Publication Data Television and video preservation 1997: A report on the current state of American television and video preservation: report of the Librarian of Congress. p. cm. þThis report was written by William T. Murphy, assigned to the Library of Congress under an inter-agency agreement with the National Archives and Records Administration, effective October 1, 1995 to November 15, 1996"--T.p. verso. þSeptember 1997." Contents: v. 1. Report - ISBN 0-8444-0946-4 1. Television film--Preservation--United States. 2. Video tapes--Preservation--United States. I. Murphy, William Thomas II. Library of Congress. TR886.3 .T45 1997 778.59'7'0973--dc 21 97-31530 CIP Table of Contents List of Figures . Acknowledgements. Preface by James H. Billington, The Librarian of Congress . Executive Summary . 1. Introduction A. Origins of Study . B. Scope of Study . C. Fact-finding Process . D. Urgency. E. Earlier Efforts to Preserve Television . F. Major Issues . 2. The Materials and Their Preservation Needs A. -
(12) United States Patent (10) Patent No.: US 9.294,799 B2 Thomas Et Al
US00929.4799B2 (12) United States Patent (10) Patent No.: US 9.294,799 B2 Thomas et al. (45) Date of Patent: Mar. 22, 2016 (54) SYSTEMS AND METHODS FOR PROVIDING (58) Field of Classification Search STORAGE OF DATA ON SERVERS IN AN CPC .................................................. HO4N 7/17318 ON-DEMAND MEDIA DELIVERY SYSTEM USPC .......................................... 725/30, 87,91, 97 See application file for complete search history. (71) Applicant: Rovi Guides, Inc., Santa Clara, CA (US) (56) References Cited (72) Inventors: William L. Thomas, Evergreen, CO (US); Michael D. Ellis, Boulder, CO U.S. PATENT DOCUMENTS (US); Kevin B. Easterbrook, Gilbert, 4,024.401 A 5, 1977 Bernstein et al. AZ (US); M. Scott Reichardt, Tulsa, 4,028,733. A 6, 1977 Ulicki OK (US); Robert A. Knee, Lansdale, PA (US) (Continued) (73) Assignee: Rovi Guides, Inc., Santa Clara, CA (US) FOREIGN PATENT DOCUMENTS AU T31010 B2 3, 2001 (*) Notice: Subject to any disclaimer, the term of this AU T33993 B2 5, 2001 patent is extended or adjusted under 35 U.S.C. 154(b) by 0 days. (Continued) OTHER PUBLICATIONS (21) Appl. No.: 14/926,640 U.S. Appl. No. 09/354,344, filed Jul. 16, 1999, Ellis. (22) Filed: Oct. 29, 2015 (Continued) (65) Prior Publication Data Primary Examiner — Hunter B Lonsberry US 2016/OO57476A1 Feb. 25, 2016 (74) Attorney, Agent, or Firm — Ropes & Gray LLP Related U.S. Application Data (57) ABSTRACT (63) Continuation of application No. 14/559,781, filed on A system and method may be provided that allows users to Dec. 3, 2014, which is a continuation of application store, retrieve, and manipulate on-demand media content and No. -
Workplace Harassment in the Contemporary Music Industries of Australia and New Zealand
TUNESMITHS AND TOXICITY: WORKPLACE HARASSMENT IN THE CONTEMPORARY MUSIC INDUSTRIES OF AUSTRALIA AND NEW ZEALAND by Jeffrey Robert Crabtree Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy under the supervision of Professor Mark Evans and Doctor Susie Khamis University of Technology Sydney Faculty of Arts and Social Sciences August, 2020 CERTIFICATE OF ORIGINAL AUTHORSHIP I, Jefrey Robert Crabtree, declare that this thesis is submitted in fulfillment of the requirements for the award of Doctor or Philosophy in the School of Communications at the University of Technology Sydney. This thesis is wholly my own work unless otherise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: ii ACKOWLEDGEMENTS I wish to acknowledge the incredible support of my wife, who was not only very encouraging but also incredibly understanding whilst in the throes of completing her own doctorate at the same time as this study. I acknowledge my two highly talented daughters who inspire me with their creativity. Both of them have followed music careers and this research was undertaken in the hope that the working environment of the music industry will become a more welcoming space for women. I also wish to recognise my extraordinary supervisors, Professor Mark Evans and Doctor Susie Khamis, whose wise counsel and steady hands have guided this work.