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Annual Report
ANNUAL REPORT 2014 Management Message 02 At the center of our businesses 04 12 Group Profi le | Businesses | Societal, Social and Litigation | Risk Factors 07 Environmental Information 41 1. Group Profi le 09 1. Corporate Social Responsibility (CSR) Policy 42 2. Businesses 20 2. Societal Information 47 3. Litigation 32 3. Social Information 62 4. Risk Factors 38 4. Environmental Information 77 5. Verifi cation of Non-Financial Data 85 3 Information about the Company | Corporate Governance | Reports 91 1. General Information about the Company 92 2. Additional Information about the Company 93 3. Corporate Governance 106 4. Report by the Chairman of Vivendi’s Supervisory Board on Corporate Governance, Internal Audits and Risk Management – Fiscal Year 2014 147 5. Statutory Auditors’ report, prepared in accordance with Article L.225-235 of the French Commercial Code, on the Report prepared by the Chairman of the Supervisory Board of Vivendi SA 156 4 Financial Report | Statutory Auditors’ Report on the Consolidated Financial Statements | Consolidated Financial Statements | Statutory Auditors’ Report on the Financial Statements | Statutory Financial Statements 159 Selected key consolidated fi nancial data 160 I - 2014 Financial Report 161 II - Appendices to the Financial Report: Unaudited supplementary fi nancial data 191 III - Consolidated Financial Statements for the year ended December 31, 2014 195 IV - Vivendi SA - 2014 Statutory Financial Statements 294 56 Recent events | Outlook 337 Responsibility for Auditing 1. Recent events 338 the Financial Statements 341 2. Outlook 339 1. Responsibility for Auditing the Financial Statements 342 ANNUAL REPORT 2014 The Annual Report in English is a translation of the French “Document de référence” provided for information purposes. -
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. -
ENT Hayward Prepdf
Twenty-First Century Troubadour: Justin Hayward on French Connections, Songwriting, and Literature Interview with Barbara Havercroft Born in 1946 in Swindon, England, Justin Hayward is the lead singer, song- writer, and guitarist with the legendary band The Moody Blues. His renowned, highly successful career in music is now in its sixth decade, and is characterized by excellence and innovation in popular music. The Moody Blues have sold more than seventy million albums and have been awarded more than a dozen platinum and gold discs. Justin Hayward has also released seven solo albums and has received numerous prestigious awards, such as the Ivor Novello Award for Outstanding Achievement in Music, awarded in May 20131. The following telephone interview was conducted at the University of Toronto on Monday, June 10, 2013. Barbara Havercroft §1 After you and John Lodge joined the Moody Blues in August, 1966, the band continued performing the rhythm and blues music played by the previous incarnation of the group. At this point, in the late sixties, you and your four band- mates decided to travel to Belgium to work. Why did you choose Belgium? Were there conditions in Belgium that were conducive to the band’s metamorphosis and the conception of new material, including the Days of Future Passed composi- tions2? Justin Hayward Actually, the band’s metamorphosis came a bit later. You must remember that nothing is planned in this band. We just stumble into things and lucky accidents and great big slices of luck happen to us. So there was no plan. We went to Belgium playing the old rhythm and blues set, which we continued playing for about three or four months after John and I joined [the group] and we simply weren’t very good at it. -
Mick Taylor © Felix Aeppli 07-2020 / 08-2021
Blues Breaker Mick Taylor © Felix Aeppli 07-2020 / 08-2021 5001 January 17, 1949 (not 1948) Born in Welwyn Garden City, Hertfordshire: Michael Kevin (not James) Taylor. 5001A 1963 Hatfield, Hertfordshire, or London: THE STRANGERS, MEET THE STRANGERS (One-sided 10" acetate, 1963): 1. A Picture Of You (Beveridge, Oakman), 2. The Cruel Sea (Maxfield), 3. It’ll Be Me (Clement), 4. Saturday Night At The Duck Pond (Owen, based on a section from Tchaikovsky's Swan Lake) MT, Alan Shacklock: guitar; Malcolm Collins: vocals (1, 3); John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5001B 1964 Hatfield, Hertfordshire, or London: THE JUNIORS, Single (Columbia DB 7339 [UK], Aug. 1964); MADE IN ENGLAND VOL. 2 – BRITISH BEAT SPECIAL 1964 - 69 (LCD 25-2, CD [France], Spring, 2000): 1. There’s A Pretty Girl (Webb), 2. Pocket Size (White) MT, Alan Shacklock: guitar; Malcolm Collins: vocals; John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5002 May, 1967 Probably London THE GODS (THOR, HERMES, OLMPUS, MARS), Single (Polydor 56168 [UK], June, 1967): 1. Come On Down To My Boat Baby (Farrell, Goldstein), 2. Garage Man (Hensley) NOTES: Cuts 1, 2: MT’s participation in this session is very much open to speculation and his own interviews on the subject are full of contradictions; most likely MT had taken part in some live shows, but he never was in THE GODS’ actual line-up (Lee Kerslake: guitar; Ken Hensley: organ, vocals; John Glascock: bass, back-up vocals; Brian Glascock, perhaps alternating with Lee Kerslake: drums); – Nor is MT identical with MICK TAYLOR playing guitar and singing on a Single (CBS 201770 [UK], June, 1965), London Town, Hoboin’ (both Taylor - produced by Jimmy Duncan and Peter Eden); or involved in Cockleshells (Taylor), a track recorded by MARIANNE FAITHFULL (NORTH COUNTRY MAID, Decca LK 4778 [UK], Feb. -
Presentación De Powerpoint
1. EL MUNDO TRAS EL CRISTAL (LA GUARDIA) 26.SALIR (EXTREMODURO) 2. RITMO DEL GARAJE (LOQUILLO) 27.SO PAYASO (EXTREMODURO) 3. SIN DOCUMENTOS (LOS RODRIGUEZ) 28.EN BLANCO Y NEGRO (BARRICADA) 4. EL LIMITE (LA FRONTERA) 29.P´AQUI P´ALLA (LA FUGA) 5. DEJAME (LOS SECRETOS) 30.ANTES DE QUE CUENTE DIEZ (FITO) 6. BAILANDO (ALASKA) 31.WHISKY BARATO (FITO) 7. FIESTA ME COLE (MECANO) 32.PERO A TU LADO (LOS SECRETOS) 8. EL SITIO DE MI RECREO (ANTONIO VEGA) 33.BAILARE SOBRE TU TUMBA (SINIESTRO 9. LAS CHICAS SON GUERRERAS (COZ) TOTAL) 10.SABOR DE AMOR (DANZA INVISIBLE) 34.MALDITO DUENDE (HEROES DEL SILENCIO) 11.CIEN GAVIOTAS (DUNCAN DHU) 35.LA DEL PIRATA COJO (JOAQUIN SABINA) 12.ZAPATILLAS (EL CANTO DEL LOCO) 36.PANDILLERO (DINAMITA PARA LOS POLLOS) 13.COMO UN BURRO AMARRAO (EL ULTIMO DE LA 37.EL ROCE DE TU PIEL (REVOLVER) FILA) 38.EL SECRETO DE LAS TORTUGAS (MALDITA 14.A QUIEN LE IMPORTA (ALASKA) NEREA) 15.LA CASA POR EL TEJADO (FITO) 39.EN ALGUN LUGAR (DUNCAN DHU) 16.POR LA BOCA VIVE EL PEZ (FITO) 40.NO PUEDO VIVIR SIN TI (LOS RONALDOS) 17.ENTRE DOS TIERRAS (HÉROES DEL SILENCIO) 41.COLOR ESPERANZA (DIEGO TORRES) 18.VOY A PASARMELO BIEN (HOMBRES G) 42.SOLDADITO MARINERO (FITO) 19.SUFRE MAMON (HOMBRES G) 43.SEMILLA NEGRA (RADIO FUTURA) 20.LA FLACA (JARABE DE PALO) 44.NO HAY TREGUA (BARRICADA) 21.PRINCESA (SABINA) 45.PAJAROS DE BARRO (MANOLO GARCIA) 22.AZUL (ANTONIO VEGA) 46.VAMOS MUY BIEN (SINIESTRO TOTAL) 23.CUANDO BRILLE EL SOL (LA GUARDIA) 47.MANERAS DE VIVIR (LEÑO) 24.MIL CALLES (LA GUARDIA) 48.QUIERO UN CAMION (LOQUILLO) 25.LOBO HOMBRE EN PARIS -
Música Electrónica E Rap Música Electrónica
MÚSICA ELECTRÓNICA E RAP MÚSICA ELECTRÓNICA A state of trance : year mix 2007 / mixed by Armin Van Buuren [Netherlands] : Cloud 9, 2007 Localización: CD STA [azul escuro] The magnificent tree / Hooverphonic [Belgium] : Sony Music, 2000 Localización: CD HOO [azul escuro] Abroken Frame / Depeche Mode EU : Mute Records, 2006 Localización: CD DEP [azul claro] RR7349 / Survive [S.l.] : Relapse Records, [2016] Localización: CD SUR [azul claro] Disco fever [S.l.] : Universal Music International BV., 2001 Localización: CD DIS [azul claro] Ma fleur / The Cinematic Orchestra London : Ninja Tune, cop. 2007 Localización: CD CIN [azul claro] Arca / Arca [London] : XL Recordings, 2017 Localización: CD ARC [azul claro] All melody / Nils Frahm [S.l.] : Erased Tapes Records, cop. 2018 Localización: CD FRA [azul claro] Justicia universal / Dorian [Madrid] : Intromúsica Records, D.L. 2018 Localización: CD DOR [azul claro] Power, corruption & lies / New Order London : CentreDate, cop. 1992 Localización: CD NEW [azul claro] Maxinquaye / Tricky [S.l.] : Island Records, 1995 Localización: CD TRI [azul claro] Overgrown / James Blake [S.l.] : Polydor, 2013 Localización: CD BLA [azul claro] Till it breaks / Najwajean Madrid : EMI Music Spain, D.L. 2008 Localización: CD NAJ [azul claro] This is acting / Sia Gütersloh : Sony Music Entertainment, 2016 Localización: CD SIA [azul claro] Anima / Thom Yorke [London] : XL Recordings, 2019 Localización: CD YOR [azul claro] La gran esfera / La Casa Azul Madrid : Elefant Records, 2019 Localización: CD CAS [azul claro] Rebel -
Audio Mastering for Stereo & Surround
AUDIO MASTERING FOR STEREO & SURROUND 740 BROADWAY SUITE 605 NEW YORK NY 10003 www.thelodge.com t212.353.3895 f212.353.2575 EMILY LAZAR, CHIEF MASTERING ENGINEER EMILY LAZAR CHIEF MASTERING ENGINEER Emily Lazar, Grammy-nominated Chief Mastering Engineer at The Lodge, recognizes the integral role mastering plays in the creative musical process. Combining a decisive old-school style and sensibility with an intuitive and youthful knowledge of music and technology, Emily and her team capture the magic that can only be created in the right studio by the right people. Founded by Emily in 1997, The Lodge is located in the heart of New York City’s Greenwich Village. Equipped with state-of-the art mastering, DVD authoring, surround sound, and specialized recording studios, The Lodge utilizes cutting-edge technologies and attracts both the industry’s most renowned artists and prominent newcomers. From its unique collection of outboard equipment to its sophisticated high-density digital audio workstations, The Lodge is furnished with specially handpicked pieces that lure both analog aficionados and digital audio- philes alike. Moreover, The Lodge is one of the few studios in the New York Metropolitan area with an in-house Ampex ATR-102 one-inch two-track tape machine for master playback, transfer and archival purposes. As Chief Mastering Engineer, Emily’s passion for integrating music with technology has been the driving force behind her success, enabling her to create some of the most distinctive sounding albums released in recent years. Her particular attention to detail and demand for artistic integrity is evident through her extensive body of work that spans genres and musical styles, and has made her a trailblazer in an industry notably lack- ing female representation. -
March April 2006
march/april 2006 issue 280 free jazz now in our 32nd year &blues report www.jazz-blues.com Jason Moran and The Bandwagon Randy Weston Yellowjackets Diane Schuur PLUS...Regina Carter, Bela Fleck & the Flecktones, Manhattan Transfer, Mulgrew Miller, Rebirth Brass Band...Jazz Meets Hip-Hop, Jazz Brunch & more... Get The Scoop...INSIDE! Published by Martin Wahl Communications Editor & Founder Bill Wahl Layout & Design Bill Wahl Operations Jim Martin Pilar Martin Contributors Michael Braxton, Mark Cole, JazzFest Time is Here Chris Hovan, Nancy Ann Lee, Festival is Expanding to Year-Round Live Jazz Peanuts, Mark Smith, Duane Verh and Ron Weinstock. For close to three decades now, mance by the Manhattan Transfer Jazz & Blues Report has featured will be held at the Ohio Theatre on Check out our new, updated web the Tri-C JazzFest in our issue at page. Now you can search for CD Saturday, April 22. Tri-C JazzFest Reviews by artists, Titles, Record this time every year. Once again, we Cleveland officially kicks off on Labels or JBR Writers. Twelve years are happy to announce yet another Wednesday April 26 at 5 p.m. with a of reviews are up and we’ll be going edition of this premier jazz festival, New Orleans-style “second line” pa- all the way back to 1974! and their expansion to year-round rade, complete with fans, admirers jazz. and festival revelers. Leading the Tri- Now in its 27th year, Tri-C Address all Correspondence to.... C JazzFest Second Line is the Re- Jazz & Blues Report JazzFest Cleveland has been a dy- birth Brass Band, who will end the 19885 Detroit Road # 320 namic force in cultivating the next procession at the House of Blues for Rocky River, Ohio 44116 generation of jazz music lovers a swinging party with The Tri-C Jazz Main Office ..... -
Deutsche Nationalbibliografie 2017 T 04
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2017 T 04 Stand: 19. April 2017 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2017 ISSN 1613-8945 urn:nbn:de:101-201612065587 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde. -
Cuando La Música Desapareció De Televisión. Historia, Evolución Y Análisis Narrativo Del Periodismo Musical En TVE Y TV3 Al
Cuando la música desapareció de televisión. Historia, evolución y análisis narrativo del periodismo musical en TVE y TV3 90) - 02 - Alícia Álvarez Vaquero http://hdl.handle.net/10803/404735 Generalitat 472 (28 de Catalunya núm. Rgtre. Fund. ió ADVERTIMENT. L'accés als continguts d'aquesta tesi doctoral i la seva utilització ha de respectar els drets de undac la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials F d'investigació i docència en els termes establerts a l'art. 32 del Text Refós de la Llei de Propietat Intel·lectual (RDL 1/1996). Per altres utilitzacions es requereix l'autorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No s'autoritza la seva reproducció o altres formes d'explotació efect uades amb finalitats de lucre ni la seva comunicació pública des d'un lloc aliè al servei TDX. Tampoc s'autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs. Universitat Ramon Llull Universitat Ramon ADVERTENCIA. El acceso a los contenidos de esta tesis doctoral y su utilización debe respetar los derechos de la persona autora. Puede ser utilizada para consulta o estudio personal, así como en actividades o G: 59069740 G: materiales de investigación y docencia en los términos establecidos en el art. -
Opera from a Sistah's Point of View
ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notes NO. 15 / 2010-2011 Opera from a Sistah’s Point of View: The Angela Brown Collection aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and I write this column as we enter into be of use to others.” Although Brown’s dissemination of materials for the second decade of the twenty-first career continues to evolve, Head of the purpose of research and century and as I reflect on the political, Collections Brenda Nelson-Strauss study of African American social, and cultural changes that have believes that “starting the archiving music and culture. taken place during the first ten years process now is advantageous from an www.indiana.edu/~aaamc of this new millennium. Within this archivist’s perspective because of the context of change, I marvel at the ways opportunity to evaluate and preserve in which African Americans continue materials initially, then annually, as new to expand and redefine the boundaries materials are created. I think things are Table of Contents for artistic expressions, revealing the less likely to fall through the cracks if we diversity of musical creativity among have a more active role in documenting From the Desk of this group. Two major collections Angela Brown’s career.” We look forward the Director ......................................2 acquired in 2010—the Angela Brown to our ongoing relationship with Angela Collection and the James Spooner Brown (see inside story). Featured Collection: Collection—reveal the ways in which Following the AAAMC’s November Angela Brown ..................................4 African Americans negotiate their dual 2009 conference, Reclaiming the Right to identities as performers in Western Rock: Black Experiences in Rock Music, In the Vault: classical traditions and how they several of the participants donated Recent Donations .........................8 construct and define black identities in items ranging from CDs to posters. -
Deutsche Nationalbibliografie 2018 T 02
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2018 T 02 Stand: 07. Februar 2018 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2018 ISSN 1613-8945 urn:nbn:de:101-201711171826 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.