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Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
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. -
FACILITATING COMPETITION by REMEDIAL REGULATION Kristelia A
FACILITATING COMPETITION BY REMEDIAL REGULATION Kristelia A. García† ABSTRACT In music licensing, powerful music publishers have begun—for the first time ever— to withdraw their digital copyrights from the collectives that license those rights, in order to negotiate considerably higher rates in private deals. At the beginning of the year, two of these publishers commanded a private royalty rate nearly twice that of the going collective rate. This result could be seen as a coup for the free market: Constrained by consent decrees and conflicting interests, collectives are simply not able to establish and enforce a true market rate in the new, digital age. This could also be seen as a pathological form of private ordering: Powerful licensors using their considerable market power to impose a supracompetitive rate on a hapless licensee. While there is no way to know what the market rate looks like in a highly regulated industry like music publishing, the anticompetitive effects of these withdrawals may have detrimental consequences for artists, licensees and consumers. In industries such as music licensing, network effects, parallel pricing and tacit collusion can work to eliminate meaningful competition from the marketplace. The resulting lack of competition threatens to stifle innovation in both the affected, and related, industries. Normally, where a market operates in a workably competitive manner, the remedy for anticompetitive behavior can be found in antitrust law. In music licensing, however, some concerning behaviors, including both parallel pricing and tacit collusion, do not rise to the level of antitrust violations; as such, they cannot be addressed by antitrust law. This DOI: http://dx.doi.org/10.15779/Z38NZ8H © 2016 Kristelia A. -
Exhibit O-137-DP
Contents 03 Chairman’s statement 06 Operating and Financial Review 32 Social responsibility 36 Board of Directors 38 Directors’ report 40 Corporate governance 44 Remuneration report Group financial statements 57 Group auditor’s report 58 Group consolidated income statement 60 Group consolidated balance sheet 61 Group consolidated statement of recognised income and expense 62 Group consolidated cash flow statement and note 63 Group accounting policies 66 Notes to the Group financial statements Company financial statements 91 Company auditor’s report 92 Company accounting policies 93 Company balance sheet and Notes to the Company financial statements Additional information 99 Group five year summary 100 Investor information The cover of this report features some of the year’s most successful artists and songwriters from EMI Music and EMI Music Publishing. EMI Music EMI Music is the recorded music division of EMI, and has a diverse roster of artists from across the world as well as an outstanding catalogue of recordings covering all music genres. Below are EMI Music’s top-selling artists and albums of the year.* Coldplay Robbie Williams Gorillaz KT Tunstall Keith Urban X&Y Intensive Care Demon Days Eye To The Telescope Be Here 9.9m 6.2m 5.9m 2.6m 2.5m The Rolling Korn Depeche Mode Trace Adkins RBD Stones SeeYou On The Playing The Angel Songs About Me Rebelde A Bigger Bang Other Side 1.6m 1.5m 1.5m 2.4m 1.8m Paul McCartney Dierks Bentley Radja Raphael Kate Bush Chaos And Creation Modern Day Drifter Langkah Baru Caravane Aerial In The Backyard 1.3m 1.2m 1.1m 1.1m 1.3m * All sales figures shown are for the 12 months ended 31 March 2006. -
A Study of Music Publishers, Collecting Societies and Media Conglomerates'
Prometheus, Vol. 17, No. 2, 1999 163 The Changing Location of Intellectual Property Rights in Music : A Study of Music Publishers, Collecting Societies and Media Conglomerates' MARTIN KRETSCHMER, GEORGE MICHAEL KLIMIS & ROGER WALLIS ABSTRACT This article reports the results of a major study, conducted between 1996 and 1999, examining the impact of de-regulation and digital technologies on the global music industry . 14/e analyse four negotiations in the process of bringing music to the world market: commod#ication, globalisation, delivery, and royalty management. 141e show that the location of intellectual property rights in this process depends on the mutual bargaining power of the parties involved, within a statutory frame vesting music copyright initially in the author. 14,e describe the forces which have led to the appropriation of rights accounting for 80% of global publishing and recording revenues 1y only five companies : LA71 (U)) Bertelsmann (Germany), 141'arner (US), Sony (Japan) and Universal (Canada) . 14'e predict that this regime will not last and consider the likely future location of intellectual properly rights in music . Keywords : globalisation, information society, intellectual property, music copyright, royalty, vertical integration . Introduction Music is covered by complex intellectual property provisions . A right arises if an original musical idea is given a fixed expression ; for example, if a song is written down or recorded in some other from . This right is located in the creator of that musical idea . By an act of legislation, the musical idea turns into a copyrighted work, owned by the creator, who will have the power to prevent others from using it . -
ADAM and the ANTS Adam and the Ants Were Formed in 1977 in London, England
ADAM AND THE ANTS Adam and the Ants were formed in 1977 in London, England. They existed in two incarnations. One of which lasted from 1977 until 1982 known as The Ants. This was considered their Punk era. The second incarnation known as Adam and the Ants also featured Adam Ant on vocals, but the rest of the band changed quite frequently. This would mark their shift to new wave/post-punk. They would release ten studio albums and twenty-five singles. Their hits include Stand and Deliver, Antmusic, Antrap, Prince Charming, and Kings of the Wild Frontier. A large part of their identity was the uniform Adam Ant wore on stage that consisted of blue and gold material as well as his sophisticated and dramatic stage presence. Click the band name above. ECHO AND THE BUNNYMEN Formed in Liverpool, England in 1978 post-punk/new wave band Echo and the Bunnymen consisted of Ian McCulloch (vocals, guitar), Will Sergeant (guitar), Les Pattinson (bass), and Pete de Freitas (drums). They produced thirteen studio albums and thirty singles. Their debut album Crocodiles would make it to the top twenty list in the UK. Some of their hits include Killing Moon, Bring on the Dancing Horses, The Cutter, Rescue, Back of Love, and Lips Like Sugar. A very large part of their identity was silohuettes. Their music videos and album covers often included silohuettes of the band. They also have somewhat dark undertones to their music that are conveyed through the design. Click the band name above. THE CLASH Formed in London, England in 1976, The Clash were a punk rock group consisting of Joe Strummer (vocals, guitar), Mick Jones (vocals, guitar), Paul Simonon (bass), and Topper Headon (drums). -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
Classic Rock/ Metal/ Blues
CLASSIC ROCK/ METAL/ BLUES Caught Up In You- .38 Special Girls Got Rhythm- AC/DC You Shook Me All Night Long- AC/DC Angel- Aerosmith Rag Doll- Aerosmith Walk This Way- Aerosmith What It Takes- Aerosmith Blue Sky- The Allman Brothers Band Melissa- The Allman Brothers Band Midnight Rider- The Allman Brothers Band One Way Out- The Allman Brothers Band Ramblin’ Man- The Allman Brothers Band Seven Turns- The Allman Brothers Band Soulshine- The Allman Brothers Band House Of The Rising Sun- The Animals Takin’ Care Of Business- Bachman-Turner Overdive You Ain’t Seen Nothing Yet- Bachman-Turner Overdrive Feel Like Makin’ Love- Bad Company Shooting Star- Bad Company Up On Cripple Creek- The Band The Weight- The Band All My Loving- The Beatles All You Need Is Love- The Beatles Blackbird- The Beatles Eight Days A Week- The Beatles A Hard Day’s Night- The Beatles Hello, Goodbye- The Beatles Here Comes The Sun- The Beatles Hey Jude- The Beatles In My Life- The Beatles I Will- Beatles Let It Be- The Beatles Norwegian Wood (This Bird Has Flown)- The Beatles Ob-La-Di, Ob-La-Da- The Beatles Oh! Darling- The Beatles Rocky Raccoon- The Beatles She Loves You- The Beatles Something- The Beatles CLASSIC ROCK/ METAL/ BLUES Ticket To Ride- The Beatles Tomorrow Never Knows- The Beatles We Can Work It Out- The Beatles When I’m Sixty-Four- The Beatles While My Guitar Gently Weeps- The Beatles With A Little Help From My Friends- The Beatles You’ve Got To Hide Your Love Away- The Beatles Johnny B. -
Counting the Music Industry: the Gender Gap
October 2019 Counting the Music Industry: The Gender Gap A study of gender inequality in the UK Music Industry A report by Vick Bain Design: Andrew Laming Pictures: Paul Williams, Alamy and Shutterstock Hu An Contents Biography: Vick Bain Contents Executive Summary 2 Background Inequalities 4 Finding the Data 8 Key findings A Henley Business School MBA graduate, Vick Bain has exten sive experience as a CEO in the Phase 1 Publishers & Writers 10 music industry; leading the British Academy of Songwrit ers, Composers & Authors Phase 2 Labels & Artists 12 (BASCA), the professional as sociation for the UK's music creators, and the home of the Phase 3 Education & Talent Pipeline 15 prestigious Ivor Novello Awards, for six years. Phase 4 Industry Workforce 22 Having worked in the cre ative industries for over two decades, Vick has sat on the Phase 5 The Barriers 24 UK Music board, the UK Music Research Group, the UK Music Rights Committee, the UK Conclusion & Recommendations 36 Music Diversity Taskforce, the JAMES (Joint Audio Media in Education) council, the British Appendix 40 Copyright Council, the PRS Creator Voice program and as a trustee of the BASCA Trust. References 43 Vick now works as a free lance music industry consult ant, is a director of the board of PiPA http://www.pipacam paign.com/ and an exciting music tech startup called Delic https://www.delic.net work/ and has also started a PhD on gender diversity in the UK music industry at Queen Mary University of London. Vick was enrolled into the Music Week Women in Music Awards ‘Roll Of Honour’ and BBC Radio 4 Woman’s Hour Music Industry Powerlist. -
112 It's Over Now 112 Only You 311 All Mixed up 311 Down
112 It's Over Now 112 Only You 311 All Mixed Up 311 Down 702 Where My Girls At 911 How Do You Want Me To Love You 911 Little Bit More, A 911 More Than A Woman 911 Party People (Friday Night) 911 Private Number 10,000 Maniacs More Than This 10,000 Maniacs These Are The Days 10CC Donna 10CC Dreadlock Holiday 10CC I'm Mandy 10CC I'm Not In Love 10CC Rubber Bullets 10CC Things We Do For Love, The 10CC Wall Street Shuffle 112 & Ludacris Hot & Wet 1910 Fruitgum Co. Simon Says 2 Evisa Oh La La La 2 Pac California Love 2 Pac Thugz Mansion 2 Unlimited No Limits 20 Fingers Short Dick Man 21st Century Girls 21st Century Girls 3 Doors Down Duck & Run 3 Doors Down Here Without You 3 Doors Down Its not my time 3 Doors Down Kryptonite 3 Doors Down Loser 3 Doors Down Road I'm On, The 3 Doors Down When I'm Gone 38 Special If I'd Been The One 38 Special Second Chance 3LW I Do (Wanna Get Close To You) 3LW No More 3LW No More (Baby I'm A Do Right) 3LW Playas Gon' Play 3rd Strike Redemption 3SL Take It Easy 3T Anything 3T Tease Me 3T & Michael Jackson Why 4 Non Blondes What's Up 5 Stairsteps Ooh Child 50 Cent Disco Inferno 50 Cent If I Can't 50 Cent In Da Club 50 Cent In Da Club 50 Cent P.I.M.P. (Radio Version) 50 Cent Wanksta 50 Cent & Eminem Patiently Waiting 50 Cent & Nate Dogg 21 Questions 5th Dimension Aquarius_Let the sunshine inB 5th Dimension One less Bell to answer 5th Dimension Stoned Soul Picnic 5th Dimension Up Up & Away 5th Dimension Wedding Blue Bells 5th Dimension, The Last Night I Didn't Get To Sleep At All 69 Boys Tootsie Roll 8 Stops 7 Question -
Directors' Ballot Booklet
DIRECTors’ BALLOT BOOKLET Performing Right Society Limited Annual General Meeting Tuesday 18 August 2020 Ballot details Introduction Every year there are vacancies for writer and/or publisher director positions on the PRS Board. If you are a Principal Voting member (including retiring directors), you can put yourself forward. This booklet details this year’s vacancies and includes biographies of the 10 candidates who are standing for election. The Directors’ Ballot determines if candidates are eligible to become a director at the Annual General Meeting (AGM) in accordance with PRS’ Articles of Association. The results of the Ballot will be announced at the AGM on Tuesday 18 August 2020. Vacancies There is one writer director vacancy and Candidate information and the Ballot three publisher director vacancies on You can find the candidates’ biographies the Board this year. in this booklet, as well as lists of their proposers, current and recent Candidates directorships and short manifesto statements. There are six candidates standing for the one writer director vacancy and four The secure Ballot website, hosted by our candidates standing for the three independent scrutineers, Civica Election publisher director vacancies. Services (CES, formerly Electoral Reform Services), contains a copy of this booklet Voting process and candidate canvassing videos. As there are more candidates than The Ballot website also links through to vacancies this year, we will hold a Ballot the platform where you will need to vote. where members will vote to determine The deadline for voting is 5pm on the eligibility of each candidate for Tuesday 4 August 2020. appointment as a director on the Board. -
Supplemental Information for the Consolidated Financial Results for the Third Quarter Ended December 31,2019
Supplemental Information for the Consolidated Financial Results for the Third Quarter Ended December 31, 2019 2019 年度第 3 四半期連結業績補足資料 February 4, 2020 Sony Corporation ソニー株式会社 Supplemental Financial Data 補足財務データ 2 ■ Average / assumed foreign exchange rates 期中平均/前提為替レート 2 ■ FY19 Estimated Foreign Exchange Impact on Annual Operating Income 2019 年度 為替感応度(年間営業利益に対する影響額の試算) 2 ■ Results by segment セグメント別業績 3 ■ Sales to customers by product category (to external customers) 製品カテゴリー別売上高(外部顧客に対するもの) 4 ■ Unit sales of key products 主要製品販売台数 4 ■ Sales to customers by geographic region (to external customers) 地域別売上高(外部顧客に対するもの) 4 ■ Depreciation and amortization (D&A) by segment セグメント別減価償却費及び償却費 5 ■ Amortization of film costs 繰延映画製作費の償却費 5 ■ Additions to long-lived assets and D&A 固定資産の増加額、減価償却費及び償却費 5 ■ Additions to long-lived assets and D&A excluding Financial Services 金融分野を除くソニー連結の固定資産の増加額、減価償却費及び償却費 5 ■ Research and development (R&D) expenses 研究開発費 5 ■ R&D expenses by segment セグメント別研究開発費 5 ■ Restructuring charges by segment (includes related accelerated depreciation expense) セグメント別構造改革費用(関連する加速減価償却費用を含む) 6 ■ Period-end foreign exchange rates 期末為替レート 6 ■ Inventory by segment セグメント別棚卸資産 6 ■ Film costs (balance) 繰延映画製作費(残高) 6 ■ Long-lived assets by segment セグメント別固定資産 6 ■ Long lived assets and right-of-use assets by segment セグメント別固定資産・使用権資産 7 ■ Goodwill by segment セグメント別営業権 7 ■ Return on Invested Capital (ROIC) by segment セグメント別ROIC 7 ■ Cash Flow (CF) by segment セグメント別キャッシュ・フロー 7 Game & Network Services Segment Supplemental Information (English only)