Corporate Report 2019
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Creativity Or Imitation:Japanese Success in VCR Technology Jeanine M
Lehigh University Lehigh Preserve Perspectives on business and economics Perspectives on Business and Economics 1-1-1989 Creativity or Imitation:Japanese Success in VCR Technology Jeanine M. Kasulis Lehigh University Follow this and additional works at: http://preserve.lehigh.edu/perspectives-v07 Recommended Citation Kasulis, Jeanine M., "Creativity or Imitation:Japanese Success in VCR Technology" (1989). Perspectives on business and economics. Paper 1. http://preserve.lehigh.edu/perspectives-v07/1 This Article is brought to you for free and open access by the Perspectives on Business and Economics at Lehigh Preserve. It has been accepted for inclusion in Perspectives on business and economics by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. CREATIVITY OR IMITATION: JAPANESE SUCCESS IN VCR TECHNOLOGY Jeanine M. Kasulis Introduction corder (VCR), a popular electronics device found Until the late 1960s, U.S. industry enjoyed in two out of five American homes, was origin a preeminent position in technology and com ally invented as a broadcasting tool by a Cali manded a significant market share in the field fornia-based American firm named Ampex in for industrial and commercial products. Dur 1956 (Television and Video Almanac, 1988, p. ing the decades that have followed, however, 433). The invention evolved over the next two competitive strides by the Japanese have made decades into a product that could be used in stunning impacts on world and domestic mar the home; but Ampex in particular, and the kets alike. Superior Japanese performance has American electronics industry in general, fell been a growing concern in a wide array of out of competition. -
Pace As a New Business Frontier — a Japanese Space Development Pioneer's View
COVER STORY • The Future of Space as Global Commons • 9 Interview with Shoichiro Asada, Executive Director of Japan Space Forum pace as a New Business Frontier — a Japanese Space Development Pioneer’s View SBy Japan SPOTLIGHT Japanese space engineers have been working on space development for a long time and have contributed greatly to reducing the technology gap between Japan and the United States. Shoichiro Asada, executive director of Japan Space Forum and a former senior executive engineer of Mitsubishi Heavy Industries, Ltd., is one of those distinguished rocket engineers in Japan. He talked to Japan SPOTLIGHT about the history of space development in Japan, the implications of space for our daily lives, and the current status and future of Japanese space business development. (Interviewed on May 9, 2018) Introduction old-fashioned N-I rocket. However, the US rocket development project was stopped JS: Could you briefly introduce then. Japan, on the other hand, continued your professional history as an to make progress and finally succeeded in engineer who has been involved launching the H-II rocket in 1994, the first in a number of crucial space rocket wholly made in Japan. Furthermore, development projects in Japan? in 1989, we started a project called “HOPE” (H-II Orbiting Plane), an attempt to Asada: I gained a Master’s degree in 1981 produce a space shuttle on a Japanese from the Institute of Space and version returning from space and Astronautical Science at the University of reentering Earth’s atmosphere. I worked on Tokyo, the predecessor to the Japan this project in charge of system design. -
Last.Fm Wants to Become the Web's MTV 10 May 2007
Last.fm Wants to Become the Web's MTV 10 May 2007 Online social music site Last.fm is moving into the video realm, adding music videos with a goal of providing every video ever made. The site, which provides music recommendations based on user preferences, will be leveraging its music label relationships to bring artist video content to members. Users who currently sign up at Last.fm site provide it with the names of their favorite artists and the site then generates streaming music recommendations based on those entries. A plug- in also lets the site determine which music users actually play. Listeners then vote on whether they love or hate those recommendations, so that Last.fm has a better idea of what that user might enjoy. Last.fm intends to use the same model for music video content in order to create personalized video channels. The site promises higher quality than that of YouTube, with audio encoded at 128 Kbits/s on Last.fm compared to YouTube's 64 Kbits/s. Last.fm boasts partnerships with major labels like The EMI Group and Warner Music Group in addition to approximately 20,000 independent labels like Ninja Tune, Nettwerk Music Group, Domino, Warp, Atlantic and Mute. The intent is to have every music video ever made available on the site, "from the latest hits to underground obscurities to classics from the past," according to Last.fm. In November of last year, Last.fm launched a system that provides suggestions on upcoming performances based on user location and taste in music. -
Official Albums Chart Rules
Rules for Chart Eligibility Albums January 2020 Official Charts Operations Team 020 7620 7450 [email protected] www.officialcharts.com Rules for Chart Eligibility January 2020 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Official UK Album Charts. The aim of the Rules is to protect the integrity of the Charts and to ensure that they are an accurate reflection of the popularity of each recording by reference to genuine transactions. The Rules apply equally to all companies issuing and/or distributing recordings. They set out the conditions on which an album will be eligible for inclusion in the Chart. The rules also apply to the UK’s Official genre charts, subject to variation where appropriate. It should be noted that record companies and distributors remain free to package and market their products in any way they choose. However, releases which do not comply with the Rules will not be eligible to be included in the Chart. The Chart Rules are issued by the Official Charts Company in conjunction with the Chart Supervisory Committee (CSC) under the supervision of the Official Charts Company board. The Official Charts Company is responsible for interpreting and applying the Chart Rules on a day-to-day basis under the supervision of the CSC. The Official Charts Company may, at its discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the CSC, a designated sub-committee of the CSC or the board, for a decision. The decision of the board will be final. -
Published on July 21, 2021 1. Changes in Constituents 2
Results of the Periodic Review and Component Stocks of Tokyo Stock Exchange Dividend Focus 100 Index (Effective July 30, 2021) Published on July 21, 2021 1. Changes in Constituents Addition(18) Deletion(18) CodeName Code Name 1414SHO-BOND Holdings Co.,Ltd. 1801 TAISEI CORPORATION 2154BeNext-Yumeshin Group Co. 1802 OBAYASHI CORPORATION 3191JOYFUL HONDA CO.,LTD. 1812 KAJIMA CORPORATION 4452Kao Corporation 2502 Asahi Group Holdings,Ltd. 5401NIPPON STEEL CORPORATION 4004 Showa Denko K.K. 5713Sumitomo Metal Mining Co.,Ltd. 4183 Mitsui Chemicals,Inc. 5802Sumitomo Electric Industries,Ltd. 4204 Sekisui Chemical Co.,Ltd. 5851RYOBI LIMITED 4324 DENTSU GROUP INC. 6028TechnoPro Holdings,Inc. 4768 OTSUKA CORPORATION 6502TOSHIBA CORPORATION 4927 POLA ORBIS HOLDINGS INC. 6503Mitsubishi Electric Corporation 5105 Toyo Tire Corporation 6988NITTO DENKO CORPORATION 5301 TOKAI CARBON CO.,LTD. 7011Mitsubishi Heavy Industries,Ltd. 6269 MODEC,INC. 7202ISUZU MOTORS LIMITED 6448 BROTHER INDUSTRIES,LTD. 7267HONDA MOTOR CO.,LTD. 6501 Hitachi,Ltd. 7956PIGEON CORPORATION 7270 SUBARU CORPORATION 9062NIPPON EXPRESS CO.,LTD. 8015 TOYOTA TSUSHO CORPORATION 9101Nippon Yusen Kabushiki Kaisha 8473 SBI Holdings,Inc. 2.Dividend yield (estimated) 3.50% 3. Constituent Issues (sort by local code) No. local code name 1 1414 SHO-BOND Holdings Co.,Ltd. 2 1605 INPEX CORPORATION 3 1878 DAITO TRUST CONSTRUCTION CO.,LTD. 4 1911 Sumitomo Forestry Co.,Ltd. 5 1925 DAIWA HOUSE INDUSTRY CO.,LTD. 6 1954 Nippon Koei Co.,Ltd. 7 2154 BeNext-Yumeshin Group Co. 8 2503 Kirin Holdings Company,Limited 9 2579 Coca-Cola Bottlers Japan Holdings Inc. 10 2914 JAPAN TOBACCO INC. 11 3003 Hulic Co.,Ltd. 12 3105 Nisshinbo Holdings Inc. 13 3191 JOYFUL HONDA CO.,LTD. -
Quietrock Case Study | Sony Computer Entertainment America
Studios & Entertainment Quiet® Success Story Project: ® Sony Computer Entertainment ‘Sh-h-h-h!’ PlayStation 4 game- America, LLC making in progress! Location: San Mateo, California New sound studios spearhead renovations for Sony Computer General Contractor: Entertainment America, with an acoustical assist from Magnum Drywall Magnum Drywall and PABCO® Gypsum’s QuietRock® Products: QuietRock® FLAME CURB® San Mateo, California The Sound of Silence means a lot to engineers producing video games for Sony PlayStation®4 (PS4™) enthusiasts. At Sony Computer Entertainment America LLC headquarters in San Mateo, California, producers’ tolerance for intrusive noise from beyond studio walls is zero. Only the intense action on-screen matters while creating audio effects that dramatize, punctuate and heighten the deeply immersive experience for video gamers. In these studios Sony Entertainment sound engineers make the most of that capability while keeping the PlayStation® pipeline full for weekly launches of new games. The gaming experience draws players to PS4™ and its predecessor PlayStation® consoles, and PS4™ elevates 3D excitement ever higher. It’s the world’s most powerful games console, with a Graphics Processing Unit (GPU) able to perform 1,843 teraflops*. “When sound is important, we prefer to submit QuietRock as a good solution for the architect and the owner. There’s nothing else on the market that’s comparable. I even used it in my own home movie theatre.”” – Gary Robinson, Owner Magnum Drywall what the job demands Visit www.QuietRock.com or call Call 1.800.797.8159 for more information On top of its introductory lineup in November 2013, over 180 PS4™ games are in development, including “Be the Batman”, the epic conclusion of the “Batman: Arkham Knight” trilogy, that is due out in June 2015. -
Investor Group Including Sony Corporation of America Completes Acquisition of Emi Music Publishing
June 29, 2012 Sony Corporation INVESTOR GROUP INCLUDING SONY CORPORATION OF AMERICA COMPLETES ACQUISITION OF EMI MUSIC PUBLISHING New York, June 29, 2012 -- Sony Corporation of America, a subsidiary of Sony Corporation, made the announcement noted above. For further detail, please refer to the attached English press release. Upon the closing of this transaction, Sony Corporation of America, in conjunction with the Estate of Michael Jackson, acquired approximately 40 percent of the equity interest in the newly-formed entity that now owns EMI Music Publishing from Citigroup, and paid an aggregate cash consideration of 320 million U.S. dollars. The impact of this acquisition has already been included in Sony’s consolidated results forecast for the fiscal year ending March 31, 2013 that was announced on May 10, 2012. No impact from this acquisition is anticipated on such forecasts. For Immediate Release INVESTOR GROUP INCLUDING SONY CORPORATION OF AMERICA COMPLETES ACQUISITION OF EMI MUSIC PUBLISHING (New York, June 29, 2012) -- An investor group comprised of Sony Corporation of America, the Estate of Michael Jackson, Mubadala Development Company PJSC, Jynwel Capital Limited, the Blackstone Group’s GSO Capital Partners LP and David Geffen today announced the closing of its acquisition of EMI Music Publishing from Citigroup. Sony/ATV Music Publishing, a joint venture between Sony and the Estate of Michael Jackson, will administer EMI Music Publishing on behalf of the investor group. The acquisition brings together two of the leading music publishers, each with comprehensive and diverse catalogs of music copyrights covering all genres, periods and territories around the world. EMI Music Publishing owns over 1.3 million copyrights, including the greatest hits of Motown, classic film and television scores and timeless standards, and Sony/ATV Music Publishing owns more than 750,000 copyrights, featuring the Beatles, contemporary superstars and the Leiber Stoller catalog. -
List of Notable Handheld Game Consoles (Source
List of notable handheld game consoles (source: http://en.wikipedia.org/wiki/Handheld_game_console#List_of_notable_handheld_game_consoles) * Milton Bradley Microvision (1979) * Epoch Game Pocket Computer - (1984) - Japanese only; not a success * Nintendo Game Boy (1989) - First internationally successful handheld game console * Atari Lynx (1989) - First backlit/color screen, first hardware capable of accelerated 3d drawing * NEC TurboExpress (1990, Japan; 1991, North America) - Played huCard (TurboGrafx-16/PC Engine) games, first console/handheld intercompatibility * Sega Game Gear (1991) - Architecturally similar to Sega Master System, notable accessory firsts include a TV tuner * Watara Supervision (1992) - first handheld with TV-OUT support; although the Super Game Boy was only a compatibility layer for the preceding game boy. * Sega Mega Jet (1992) - no screen, made for Japan Air Lines (first handheld without a screen) * Mega Duck/Cougar Boy (1993) - 4 level grayscale 2,7" LCD - Stereo sound - rare, sold in Europe and Brazil * Nintendo Virtual Boy (1994) - Monochromatic (red only) 3D goggle set, only semi-portable; first 3D portable * Sega Nomad (1995) - Played normal Sega Genesis cartridges, albeit at lower resolution * Neo Geo Pocket (1996) - Unrelated to Neo Geo consoles or arcade systems save for name * Game Boy Pocket (1996) - Slimmer redesign of Game Boy * Game Boy Pocket Light (1997) - Japanese only backlit version of the Game Boy Pocket * Tiger game.com (1997) - First touch screen, first Internet support (with use of sold-separately -
Arguelles Climbs to Victory In2.70 'Mech Everest'
MIT's The Weather Oldest and Largest Today: Cloudy, 62°F (17°C) Tonight: Cloudy, misty, 52°F (11°C) Newspaper Tomorrow: Scattered rain, 63°F (17°C) Details, Page 2 Volume 119, Number 25 Cambridge, Massachusetts 02139 Friday, May 7, 1999 Arguelles Climbs to Victory In 2.70 'Mech Everest' Contest By Karen E. Robinson and lubricant. will travel to Japan next year to ,SS!)( '1.1fr: .vOl'S UHI! JR The ramps were divided into compete in an international design After six rounds of competition, three segments at IS, 30, and 4S competition. Two additional stu- D~vid Arguelles '01 beat out over degree inclines with a hole at the dents who will later be selected will 130 students to become the champi- end of each incline. Robots scored compete as well. on of "Mech Everest," this year's points by dropping the pucks into 2.;0 Design Competition. these holes and scored more points Last-minute addition brings victory The contest is the culmination of for pucks dropped into higher holes. Each robot could carry up to ten the Des ign and Engineering 1 The course was designed by Roger pucks to drop in the holes. Students (2,.007) taught by Professor S. Cortesi '99, a student of Slocum. could request an additional ten Alexander H. Slocum '82. Some robots used suction to pucks which could not be carried in Kurtis G. McKenney '01, who keep their treads from slipping the robot body. Arguelles put these finished in second place, and third down the table, some clung to the in a light wire contraption pulled by p\~ce finisher Christopher K. -
Released in December 1957, the TR-63 Was Sony's First Pocket-Size Transistor Radio
Released in December 1957, the TR-63 was Sony's first pocket-size transistor radio. It's a 6-transistor superhet design with some interesting design features, including the use of Sony-manufactured NPN transistors in the circuit. Masaru Ibuka served with the Impe- used in schools and courts. much discussion, Sony's research labo- rial Navy Wartime Research Committee Following Ibuka's visionary 1952 ratory head, Mikato Kikuchi, suggested during World War 2, leaving in 1946 to trip to the USA to sign a licence with dropping Bells' preferred doping agent, join Akio Morita to form Tokyo Tsushin Western Electric, Sony acquired pat- indium, and substituting phosphorus Kogyo Kabushiki Kaisha, "Totsuko". ent rights for the transistor and subse- instead. When that didn't work, Morita Morita, a physics graduate, had served quently began manufacturing portable called for "more doping"! alongside Ibuka in the Research Com- radios in 1955. It soon paid off and Sony were able mittee, and their friendship laid the to produce the transistors used in their foundations for the international pow- Early difficulties first solid-state radios. Their TR-55 erhouse we now know simply as Sony. Sony preferred NPN transistors be- model, released in 1955, is now a rarity Tokyo Tsushin Kogyo's first prod- cause of their better high-frequency and the last one to be listed online some uct, a rice cooker, says a lot about the response but were initially unable to years ago had a price tag of $US1500. company. Japan had suffered massive produce working examples. One can only imagine the energy destruction during World War 2 due to NPN devices exploit the fact that invested by Sony to leap from Ibuka's bombing and people needed utensils to electrons move more quickly than licensing agreement to a marketable cook their staple food, which was rice. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
The Globalization of K-Pop: the Interplay of External and Internal Forces
THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.