Russell Simmons Russell Simmons Has Been the Leader in Bringing The
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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. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
A Place at the Table: a Sierra Roundtable on Race And
THE OF AN AMERICAN ENVIRONMENTAL MOVEMENT DOMINATED OF WHITE THE BY THE INTERESTS PEOPLE IS OVER BEGINNING OF THE END CAME IN SEPTEMBER 1982 AN WARREN COUNTY NORTH CAROLINA WHEN MORE THAN 500 PREDOMINANTLY AFRICANAMERICAN RESIDENTS WERE ARRESTED FOR OF TRUCKS BLOCKING THE PATH CARRYING TOIOC PCBS TO NEWLY DESIGNATED HAZ ARDOUSWANC AMONG THOSE TAKEN INTO CUSTODYWAS THE REVEREND BENJAMIN CHAVIS EXECUTIVE DIRECTOR OF THE UNITED CHURCH OF CHRIST COMMISSION FOR RACIAL JUSTICE CRJ HIS SUSPICIONS AS TO WHY NORTH CAROLINA WOULD CHOOSE BLACK COMMUNITY AS DUMP FOR ITS POISON WERE CONFIRMED IN MILESTONE REPORT BY THE CRJ IN 1987 WHICH DEMON STRATED THAT THE SINGLE MOST SIGNIFI CANT FACTOR IN THE SITING OF HAZARDOUSWASTE FACILITIES NATIONWIDE WAS RACE SUBSEQUENT REPORT BY THE NATIONAL LAWJOURNAL FOUND THAT THE EPA TOOK 20 PERCENT LONGER TO IDEN TIFY SUPERFUND SITES IN MINORITY FL OF COMMUNITIES AND THAT POLLUTERS EJJ THOSE NEIGHBORHOODS WERE FINED ONLY HALF AS MUCH AS POLLUTERS OF WHITE ONES ARMEDWITH PROOF OF WHAT HAS BECOME KNOWN AS II ATT COOSEENVIRONMENTAL RACISM ALLIANCE OF CHURCH LABOR CIVIL RIGHTS AND COMMUNITY OF COLOR AROSE TO DEMAND ENVIRONMENTAL GROUPS LED BY PEOPLE JUSTICE PART OF DOING SO MEANT CONFRONTING THE SOCALLED GROUP OFTEN THE NA TIONS LARGESTAND LARGELY WHITEENVIRONMENTAL GROUPS AND BLUNTLY ACCUSING THEM OF RACISM FROM THE CHARGES CAME IN EARLY 1990 IN JOLTING SERIES OF LETTERS LOUISIANAS GULF COAST TENANT LEADERSHIP DEVELOPMENT PROJECT AND THE SOUTHWEST ORGANIZING PROJECT IN ALBUQUERQUE SEE THE LETTER THAT SHOOK MOVEMENTPAGE -
Remedying Environmental Racism
Michigan Law Review Volume 90 Issue 2 1991 Remedying Environmental Racism Rachel D. Godsil University of Michigan Law School Follow this and additional works at: https://repository.law.umich.edu/mlr Part of the Civil Rights and Discrimination Commons, Environmental Law Commons, and the Law and Race Commons Recommended Citation Rachel D. Godsil, Remedying Environmental Racism, 90 MICH. L. REV. 394 (1991). Available at: https://repository.law.umich.edu/mlr/vol90/iss2/3 This Note is brought to you for free and open access by the Michigan Law Review at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Law Review by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. NOTES Remedying Environmental Racism Rachel D. Godsil In 1982, protesters applied the techniques of nonviolent civil diso bedience to a newly recognized form of racial discrimination. 1 The protesters, both black and white, attempted to prevent the siting of a polychlorinated biphenyl (PCB)2 landfill in predominantly black War ren County, North Carolina.3 In the end, the campaign failed. None theless, it focused national attention on the relationship between pollution and minority communities4 and prompted the U.S. General Accounting Office (GAO) to study the racial demographics of hazard ous waste sites. s The GAO report found that three out of the four commercial haz ardous waste landfills in the Southeast United States were located in 1. Charles Lee, Toxic Waste and Race in the United States, in THE PROCEEDINGS OF THE MICHIGAN CONFERENCE ON RACE AND THE INCIDENCE OF ENVIRONMENTAL HAZARDS 6, 8 (Paul Mohai & Bunyan Bryant eds., 1990) [hereinafter ENVIRONMENTAL HAZARDS]. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
On the Road from Environmental Racism to Environmental Justice
Volume 5 Issue 2 Article 6 1994 On the Road from Environmental Racism to Environmental Justice Maria Ramirez Fisher Follow this and additional works at: https://digitalcommons.law.villanova.edu/elj Part of the Environmental Law Commons Recommended Citation Maria R. Fisher, On the Road from Environmental Racism to Environmental Justice, 5 Vill. Envtl. L.J. 449 (1994). Available at: https://digitalcommons.law.villanova.edu/elj/vol5/iss2/6 This Comment is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Villanova Environmental Law Journal by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Fisher: On the Road from Environmental Racism to Environmental Justice 1994] ON THE ROAD FROM ENVIRONMENTAL RACISM TO ENVIRONMENTAL JUSTICE We're not saying to take the incinerators and the toxic- waste dumps out of our communities and put them in white communities-we're saying they should not be in anybody's community.... You can't get justice by doing an injustice on somebody else. When you have lived through suffering and hardship, you want to remove them, not only from your own people but from all peoples.' I. INTRODUCTION The environmental movement invariably has focused on tradi- tional areas of environmentalism which include wilderness and 2 wildlife preservation, pollution, conservation, and overpopulation. Presently, however, the environmental movement is entering a new stage of activism, that of social justice, in response to charges of environmental racism.3 Environmental racism occurs when people of color disproportionately bear the burdens and risks of environ- 1. -
For Immediate Release Second Night of 2018 Creative Arts
FOR IMMEDIATE RELEASE SECOND NIGHT OF 2018 CREATIVE ARTS EMMY® WINNERS ANNOUNCED (Los Angeles, Calif. – September 9, 2018) The Television Academy tonight presented the second of its two 2018 Creative Arts Emmy® Awards Ceremonies honoring outstanding artistic and technical achievement in television at the Microsoft Theater in Los Angeles. The ceremony honored performers, artists and craftspeople for excellence in variety, nonfiction or reality programming, reality competition programming, music, choreography, as well as documentary or nonfiction specials, informational series or specials. Executive produced by Bob Bain, the Creative Arts Emmy Awards featured presenters from the season’s most popular shows including Jane Lynch (Hollywood Game Night, The Marvelous Mrs. Maisel), Judd Apatow (Director/Executive Producer of The Zen Diaries Of Garry Shandling), Carol Burnett (The Carol Burnett Show 50th Anniversary Special), RuPaul Charles (RuPaul’s Drag Race), Derek Hough (World of Dance), Heidi Klum (Project Runway, America’s Got Talent), Tim Gunn (Project Runway) and James Corden (The Late Late Show With James Corden). Press Contacts: Stephanie Goodell breakwhitelight (for the Television Academy) [email protected], (818) 462-1150 Daina Rama breakwhitelight (for the Television Academy) [email protected], (310) 525-6496 For more information please visit emmys.com. TELEVISION ACADEMY 70TH CREATIVE ARTS EMMY AWARDS – SUNDAY The awards for both ceremonies, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Program Individual Total HBO 4 13 17 Netflix 5 11 16 NBC 1 14 15 CNN 3 5 8 FX Networks - 7 7 National Geographic - 5 5 Hulu - 4 4 VH1 - 4 4 FOX - 3 3 Prime Video - 3 3 Adult Swim 2 - 2 Cartoon Network - 2 2 CBS 1 1 2 Starz - 2 2 Apple Music 1 - 1 BBC America - 1 1 Comedy Central - 1 1 Disney Channel - 1 1 Nickelodeon - 1 1 PBS - 1 1 TBS 1 - 1 TNT - 1 1 Vimeo - 1 1 YouTube 1 - 1 A complete list of all awards presented tonight is attached. -
From Page to Stage (Or Movie Or Song) Shakespeare’S Plays Were Meant to Be Performed (Heard) Rather Than Read
From Page to Stage (or Movie or Song) Shakespeare’s plays were meant to be performed (heard) rather than read. Shakespeare is daunting! We suggest that students read one scene, break down the scene and then view the scene from a filmed version. Make sure to preview the filmed versions and check ratings for age appropriateness. Examples: Richard III: Richard III staring and directed by Laurence Olivier, 1955; Richard III with Ian McKellan, 1995; Looking for Richard with Al Pacino, 1996. Hamlet: Hamlet with Laurence Olivier, 1948; Hamlet with Mel Gibson, 1990; Rosencranz and Guildenstern are Dead by Tom Stoppard, 1996; Hamlet with Kenneth Branagh, 1996. Macbeth: Throne of Blood by Akira Kurosawa, 1957; Macbeth by Roman Polanski, 1973. Romeo and Juliet: West Side Story, 1961; Romeo and Juliet by Franco Zeffirelli, 1968; Romeo + Juliet by Baz Lurman, 1968; Shakespeare in Love, 1999. A Midsummer Night’s Dream: A Midsummer Night’s Dream by Peter Hall,1968; A Midsummer Night’s Dream by Michael Hoffman with Kevin Kline and Michelle Pfeiffer, 1999 Likewise, Hip Hop is meant to be heard rather than read. Most Hip Hop songs tell a story. Ask students to bring in their favorite Hip Hop songs with accompanying lyrics. Distribute the lyrics to the class and talk about the story. Then listen to the selection with music and discuss how the music contributes to the artistry of the piece. (Note: You may want to specify that students bring radio versions of songs and pre-screen for content and language.) Love I start to think, and then I sink Tryin to find -
Aaron Harrison
Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Library of Congress Washington, D.C. ) In re ) ) DETERMINATION OF ROYALTY ) DOCKET NO. 14-CRB-0001-WR RATES AND TERMS FOR ) (2016-2020) EPHEMERAL RECORDING AND ) DIGITAL PERFORMANCE OF SOUND ) RECORDINGS (WEB IV) ) ) TESTIMONY OF AARON HARRISON Senior Vice President, Business & Legal Affairs, Global Digital Business, UMG Recordings, Inc. PUBLIC VERSION Witness for SoundExchange, Inc. PUBLIC VERSION BACKGROUND 1. I am Senior Vice President, Business & Legal Affairs, Global Digital Business, UMG Recordings, Inc. (“UMG Recordings”), a position I have held since 2013. UMG Recordings, Inc. is the primary recorded music company in the United States for the Universal Music Group. Universal Music Group (hereafter, “Universal”) is the colloquial name for the group of music related companies owned by Vivendi S.A. Together, these companies comprise the world’s largest recorded music company. Along with other members of the Business & Legal Affairs team in the Global Digital Business department, I negotiate deals with various digital music services that use Universal’s repertoire of sound recordings. Such services include on-demand and customized streaming services, download and ringtone stores, locker services, and various types of subscription services. I have negotiated deals on Universal’s behalf for the past nine years. During that time, I have negotiated more than 100 agreements with digital music services. 2. Prior to assuming my current position, I was Vice President, Business & Legal Affairs, eLabs, UMG Recordings. I began my employment with UMG Recordings in 2005 as Director, Business & Legal Affairs, eLabs. Prior to joining UMG Recordings, I was an attorney with the law firm Manatt, Phelps & Phillips, LLP, where my practice focused primarily on talent representation and advising companies in the acquisition of intellectual property and branded entertainment rights. -
CORRECTING and REPLACING Infospace Mobile and the Island Def Jam Music Group Produce First Live Ringtone at Hip Hop Sensation Ludacris' "Red Light District" CD
CORRECTING and REPLACING InfoSpace Mobile and The Island Def Jam Music Group Produce First Live Ringtone at Hip Hop Sensation Ludacris' "Red Light District" CD CORRECTION...by InfoSpace Mobile ATLANTA--(BUSINESS WIRE)--Dec. 2, 2004--Please replace the release with the following corrected version due to multiple revisions. The corrected release reads: INFOSPACE MOBILE AND THE ISLAND DEF JAM MUSIC GROUP PRODUCE FIRST LIVE RINGTONE AT HIP HOP SENSATION LUDACRIS' "RED LIGHT DISTRICT" CD RELEASE PARTY InfoSpace Mobile and The Island Def Jam Music Group are embarking on an industry first today as the leading producer of mobile content and top hip hop label will record and publish the first live music ringtone. The recording will take place at the CD release party for the award winning, multi-platinum Def Jam South artist Ludacris and his highly anticipated 4th album Red Light District tonight in Atlanta. "I wish all my fans could come to Atlanta for this party," said Ludacris. "This will be one of the only ways for my fans to hear me live before I tour!" The deal is indicative of how music artists are embracing the mobile medium as a means to extend their brands, interact with their fans on a personal level and create new revenue streams. In addition to recording four exclusive, live ringtones, InfoSpace Mobile will be offering consumers exclusive Ludacris images through its carrier partners. The first ringtone will be a live recording of the album's first single, "Get Back," and the exclusive images will be from the "Get Back" video, directed by renowned director, Spike Jonze. -
125Th Street, Harlem, NY
APOLLO ANNUAL REPORT 2016-17th 125 Street, Harlem, NY 1 TABLE OF CONTENTS APOLLO MUSIC APOLLO COMMUNITY LEADERSHIP Page 10 Page 16 Page 4 APOLLO DANCE APOLLO EDUCATION ELLA FITZGERALD Page 12 Page 18 CENTENNIAL CELEBRATION Page 6 APOLLO THEATER APOLLO IN THE MEDIA Page 13 Page 20 WOMEN OF THE WORLD Page 8 APOLLO SIGNATURE APOLLO CELEBRATIONS Page 14 Page 22 APOLLO PEOPLE STATEMENT OF Page 27 OPERATING ACTIVITY Page 24 APOLLO SUPPORTERS Page 28 STATEMENT OF FINANCIAL POSITION Page 26 JOIN THE APOLLO Page 30 “Since its inception, the Apollo Theater has been home to legendary and FROM OUR up-and-coming artists alike, serving as an ever-changing, driving force in popular music and culture, not only in Harlem but across the world.” LEADERSHIP Jonelle Procope, President and CEO of the Apollo Theater We are delighted to share this Annual Report highlighting It is an incredible honor to bring my voice to the Apollo’s the incredible accomplishments of the Apollo’s season. Key storied legacy and exciting future. My first season at the milestones from the 2016-2017 season include welcoming Apollo has been a whirlwind of inspiring and innovative Kamilah Forbes as the new Executive Producer; presenting performances and programs. I especially want to mention The First Noel, the first multi-week run of an Apollo-Presents the four-day Women of the World Festival, which was show on the iconic Mainstage; and welcoming popular anchored by a special tribute concert to the incomparable Brooklyn-based festival, Afropunk, for their first appearance artist/activist Abbey Lincoln. -
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Case 2:21-cv-04848 Document 1 Filed 06/15/21 Page 1 of 12 Page ID #:1 1 QUINN EMANUEL URQUHART & SULLIVAN, LLP 2 Alex Spiro (pro hac vice pending) [email protected] 3 51 Madison Avenue, 22nd Floor New York, New York 10010 4 Telephone: (212) 849-7000 Facsimile: (212) 849-7100 5 Robert M. Schwartz (Bar No. 117166) 6 [email protected] Dylan C. Bonfigli (Bar No. 317185) 7 [email protected] 865 South Figueroa Street, 10th Floor 8 Los Angeles, California 90017-2543 Telephone: (213) 443-3000 9 Facsimile: (213) 443-3100 10 Attorneys for Plaintiff Shawn (JAY-Z) Carter 11 12 UNITED STATES DISTRICT COURT 13 CENTRAL DISTRICT OF CALIFORNIA, WESTERN DIVISION 14 15 SHAWN CARTER, also known as Case No. 2:21-cv-4848 JAY-Z, an individual, 16 COMPLAINT FOR Plaintiff, 17 1. VIOLATION OF SECTION v. 3344 OF THE CALIFORNIA 18 CIVIL CODE JONATHAN MANNION, an 19 individual, and JONATHAN 2. VIOLATION OF THE MANNION PHOTOGRAPHY LLC, a CALIFORNIA COMMON 20 New York limited liability company, LAW RIGHT OF PUBLICITY 21 Defendants. JURY TRIAL DEMAND 22 23 24 25 26 27 28 COMPLAINT Case 2:21-cv-04848 Document 1 Filed 06/15/21 Page 2 of 12 Page ID #:2 1 Plaintiff Shawn (JAY-Z) Carter, upon his personal knowledge and 2 information and belief alleges as follows against defendants Jonathan Mannion and 3 Jonathan Mannion Photography LLC (collectively, “Mannion”). 4 NATURE OF THE ACTION 5 1. JAY-Z brings this action to stop Jonathan Mannion from exploiting 6 JAY-Z’s name and image without JAY-Z’s consent.