Music Segment

Total Page:16

File Type:pdf, Size:1020Kb

Music Segment Music Segment Sony’s Music Segment Music Segment Sony Music Sony Music Sony Music Entertainment (“SME”) Entertainment Japan (“SMEJ”) Publishing (“SMP”) FY18 Outside Sales SME Visual Media & Platform: 33% Recorded Music: 54% SMEJ: SME SME: SME: SMEJ Music Publishing: 13% SMEJ SMEJ: SMP SMEJ Sony Corporation Music Segment Sony Music Entertainment Executive Vice President Sony Corporation Chief Executive Officer Sony Music Entertainment Rob Stringer Recorded Music Market Music Segment Four Consecutive Years of Solid Revenue Growth; Expected to Continue ($B, includes Japan) CY18 vs CY17 +9.7% KEY METRICS +7.4% $19.1 +9.2% $17.4 –3.2% +3.7% $16.2 +33% $14.3 $14.8 PAID $9.0 SUBSCRIPTION Streaming 47% OF TOTAL MARKET Downloads / +22% Other Digital $2.3 VIDEO Physical $4.7 -21% Public Performance/ DOWNLOADS Sync $3.1 CY14 CY15 CY16 CY17 CY18 Source: IFPI. Note: Digital Figures Include Digital Radio (SoundExchange) Sony Corporation Music Segment Global 2018 Success Grammy Awards Childish Gambino • Record of the Year • Song of the Year • Best Rap/ Sung Performance • Best Music Video Camila Cabello IFPI 2018 Best Selling Global Single “Havana” 2.9Bn Streams LTD Sony Corporation Music Segment 2019 So Far… Over 1.5Bn Streams 2019 YTD 5.8Bn Streams LTD Approaching 4M Album Equivalent Units Khalid Lil Nas X Globally 50M Monthly Listeners “Old Town Road” Travis Scott Now #1 Global Spotify 900M Streams Artist #1 Track of This Year 7 #1 Albums On Billboard Album Chart Future, Backstreet Boys, Hozier, Khalid, BTS, P!nk, Vampire Weekend Sony Corporation Source: Spotify, Nielsen Music Connect, SME Sales Reporting SME Financial Highlights Music Segment Strong Growth in Operating Income, Cash Flow and Margin CAGR +25% Profit Record Margin Profit +6.5 pts Vs. FY16 Operating Income FY16 FY17 FY18* FY19 FCT + Additional $1BN Spotify Gain * Excludes one-time $1B Spotify gain Sony Corporation Music Segment Successful Investment in The Orchard Continued Expansion of Global 24,000 600,000 Footprint & Service Capabilities Labels Artists 40+ Markets Worldwide 13 30,000 Million New Tracks Tracks per Week OPERATING INCOME CAGR +26% SINCE FY15 NOTE: The Orchard Revenue Reported On A Net Fee Basis Sony Corporation Increased Investment in Talent Acquisition and Development Music Segment Increased Resources in Talent Discovery Increased Annual Creative Staff Headcount: Artist Signings* Signings: +75% vs. FY15 +93% vs. FY15 FY15 FY16 FY17 FY18 FY19 FCT FY15 FY16 FY17 FY18 FY19 FCT Increased Increased Investment In Talent Roster Size* Annual Talent Roster Size: Investment: +45% vs. FY15 +46% vs. FY15 FY15 FY16 FY17 FY18 FY19 FCT FY15 FY16 FY17 FY18 FY19 FCT * Number of Persons Sony Corporation Expanding Repertoire Centers and Creative Resources Music Segment New Leadership atat Relaunch LabelEstablishing Partnerships Joint Key Creative CentersCenters of Arista Records andVenture Joint Labels Ventures • New President and Keep Cool Visionary Co-Heads of A&R • Additional Major U.S. Label – 20 New Artists Signed • Experienced Executive September Six Course CONTINENTAL EUROPE & AFRICA Team • Management & Publishing • Newly Structured Region Divisions • New Head of GSA SamePlate Palm Tree Sony Corporation Driving Global Music Market Development Music Segment Working With Commercial Partners to Drive Paid Subscription Growth Supporting Partner Sharing Market Collaborative New Leadership at Relaunch Label Partnerships Innovation Intelligence With DSPs Marketing Key Creative Centers of Arista and Joint Ventures Genre Acquisition and Opportunities Untapped Conversion Demographics Campaigns Voice Activation Accretive Bundles Consumer Behavior Promotion Effectiveness New Business Models Sony Corporation Driving Global Music Market Development Music Segment Emerging and Growth Markets Subscription Model Creating Opportunities In… Latin Iberia China New Markets Build On #1 Expand Global Aggressive SME Leadership Position Footprint Growth Strategy In Latin Iberia Eastern Europe Russia #7 Global Headcount +13% +33% Market & Roster Market Streaming India Growth Growth Growth Y-o-Y* Y-o-Y* Joint Africa SE Asia 3 of Top 15 Venture with Global Markets Sony Corporation * Annual Growth in CY2018 Sony Music’s Extensive Value Proposition to Artists Music Segment Creative Marketing Relationships Global Data & Excellence Expertise and Access Reach Analytics World-ClassWorld Class Global Global Workforce Workforce [employee photos in background] Core: Talent / Artists Sony Corporation Sony Music Value Proposition Music Segment Investing In Capabilities to Expand Our Value Proposition and Deepen Our Relationship with Artists Premium New Podcasting Merchandising Content Production Brands Services Creative Artist Management Artist-Led Studio Centers Live / Ticketing Hubs Ventures Sony Corporation Enhancing Data & Analytics Capabilities Music Segment Continued Investment In People & Technology Simple, Insightful Enhanced Internal Cutting Edge Tools and Capabilities Analytical Dashboards Techniques Talent Discovery Marketing Efficiency Audience Development Commercial Sales Sony Corporation Industry Leader in Artist Relations Music Segment Sony Music Industry Leading Approach to… NewFair Leadership at RelaunchTransparent LabelReal Partnerships Time CompensationKey Creative Centers Artistof Arista — Label Royaltyand Joint Ventures For Artists Relationship Accounting Extremely Positive Introducing Real Time Reaction to SME Spotify Royalties & Cash Out Simple Flexible Equity Payments Artist Contracts Best-In-Class Artist Sales and Royalty Portals Sony Corporation Pharrell Williams & Sony Partnership Music Segment CES Presentation In The Water Festival January 2019, Las Vegas April 2019, Virginia Music Technology Sony HQ Visit Development November 2018 Tokyo Project Ongoing Sony Corporation Sony Competitive Differentiation Music Segment Sony Music Position as Part of the Sony Family of Companies Enabling Unique Commercial, Promotional, and Creative Opportunities Across Business Units Sony Corporation Sony Music Operating Income: FY17 Act to FY18 Act Music Segment (US Dollars) 1 Physical & Download 2 3 2 Streaming 1 3 Higher prior year one time expenses and current year savings offset by increased investment in talent, SG&A, and unfavorable FX FY17 Act FY18 Act Sony Corporation Sony Music Operating Income: FY18 Act to FY19 Forecast Music Segment (US Dollars) 2 3 1 Physical & Download 1 2 Streaming 3 Investment in talent, data analytics, emerging markets, and new business verticals FY18 Act FY19 Forecast Sony Corporation Music Segment Sony/ATV Music Publishing Chairman & Chief Executive Officer Sony/ATV Music Publishing Jon Platt Music Publishing Overview Sony/ATV Music Publishing Diversified Sources of Revenue Radio Physical & Digital Advertising Stations Downloads Streaming Television Cable Film Soundtrack Video Live Concert Networks Networks and Trailers Games and Stage Sony Corporation Music Publishing Market Sony/ATV Music Publishing Growth Trajectory $ in billions $5.5 $4.9 $4.2 $4.4 $4.0 $4.0 11% 11% 5% 4% 2% 2% CY 2013 CY 2014 CY 2015 CY 2016 CY 2017 CY 2018CY CY 2021E 2021 Global Music Publishing Revenues Growth % Source: Music & Copyright Sony Corporation Importance of EMI Acquisition Sony/ATV Music Publishing Exemplifies Sony Corp’s Content Strategy High Margin Diverse Revenue Stream Recurring Revenue Decade Spanning Stable Cash Flow 2.1 Million Copyrights Genre Diversity One Sony Projects Sony Corporation Impact of EMI Acquisition Sony/ATV Music Publishing Material Increase to Operating Income FY 2017 FY 2018FY FY 2019 2019 FCT 39.8% Equity 100% Owned 100% Owned Interest November 2018 Full Year Sony Corporation Roster of the Most Talented Songwriters Sony/ATV Music Publishing Taylor The Beatles Ed Drake Carole Stevie Swift Sheeran King Wonder Luis Fonsi Lady Sara Pharrell Queen P!nk Gaga Bareilles Sony Corporation Top Earning Songs By Release Year Sony/ATV Music Publishing Older 1960s & 1980s 1970s & 2000s 1990s & Today 2010s & Sony Corporation #1 Publisher Around the World Sony/ATV Music Publishing Based on CY 2018 Worldwide Revenue (1) Based on CY 2018 Radio Airplay in the U.S. (2) Based on CY 2018 Singles Market in the UK (3) (1) Music & Copyright (2) Nielsen BDS (3) Music Week Sony Corporation Long Term Strategies Sony/ATV Music Publishing 1 Be the Destination For the Best Songwriters in the World 2 Leverage Our World Class Licensing Organization 3 Achieve Fair Digital Streaming Royalty Rates 4 Expand Our Presence in Emerging Markets 5 Differentiate and Grow through Proprietary Technology Sony Corporation Long Term Strategies (Continued) Sony/ATV Music Publishing 1 Be the Destination For the Best Songwriters in the World Khalid Cardi B Travis Scott Sony Corporation Long Term Strategies (Continued) Sony/ATV Music Publishing 2 Leverage Our World Class Licensing Organization Sony Corporation Long Term Strategies (Continued) Sony/ATV Music Publishing 3 Achieve Fair Digital Streaming Royalty Rates Sony Corporation Long Term Strategies (Continued) Sony/ATV Music Publishing 4 Expand Our Presence in Emerging Markets Sony Corporation Long Term Strategies (Continued) Sony/ATV Music Publishing 5 Differentiate and Grow through Proprietary Technology Administration Licensing Creative SATV Proprietary Software New Songwriter Discover & Accompanying Analysis Sony Corporation OP Bridge from FY17 to FY18 Sony/ATV Music Publishing 4 5 2 3 1 Removal of 39.8% prior ownership of EMI Consolidation of 100% 2 of EMI Declines in Physical 1 3 and Digital Download 4 Growth in Streaming 5 FX/All Other FY17
Recommended publications
  • Riaa 2018 Year-End Latin Music Revenue Report Latin Music Is Experiencing a Renaissance
    RIAA 2018 YEAR-END LATIN MUSIC REVENUE REPORT LATIN MUSIC IS EXPERIENCING A RENAISSANCE. STREAMING HAS BROKEN DOWN GEOGRAPHIC AND GENRE BARRIERS, RESULTING IN LATIN MUSIC REACHING NEW AUDIENCES AT THE TOUCH OF A FINGER. The story behind this recovery starts with great music: J Balvin, Daddy Yankee, Karol G, Ozuna, Rosalia, Luis Miguel, Bad Bunny, Sofia Reyes, and so many other talented artists who released music in 2018 helped fuel the second year of double-digit growth in the U.S. Latin music market. Any conversation about the Latin music market starts with one word: streaming. Latin music’s transformation from a physical-based business to a streaming- driven one is even faster than the overall U.S. music market’s turnaround. Revenues from streaming now comprise 93% of the total Latin market, with paid subscription services fueling most of the growth. But there are inherent challenges for any market where fans have a heavier reliance on free, ad-supported services – an area that has not yet reached its full potential due to the efforts by some platforms to drive down the value of music. Overall, the Latin music market is showing signs of strength again, and we are excited for the next chapter of this comeback story. -Michele Ballantyne, COO, RIAA FIGURE 1 FIGURE The U.S. Latin music business grew 18% the overall U.S. music market. Latin music in 2018 to $413 million. Streaming formats accounted for 4.2% of the total $9.8 billion made up a remarkable 93% of total Latin U.S. music business, a slight increase music revenues, compared with 75% for versus 4.0% in 2017.
    [Show full text]
  • 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.
    [Show full text]
  • UMG V Veoh 9Th Opening Brief.Pdf
    Case: 09-56777 04/20/2010 Page: 1 of 100 ID: 7308924 DktEntry: 11-1 No. 09-56777 ____________ IN THE UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT ___________________ UMG RECORDINGS, INC.; UNIVERSAL MUSIC CORP.; SONGS OF UNIVERSAL, INC.; UNIVERSAL-POLYGRAM INTERNATIONAL PUBLISHING, INC.; RONDOR MUSIC INTERNATIONAL, INC.; UNIVERSAL MUSIC—MGB NA LLC; UNIVERSAL MUSIC—Z TUNES LLC; UNIVERSAL MUSIC—MBG MUSIC PUBLISHING LTD., Plaintiffs-Appellants v. VEOH NETWORKS, INC., Defendant-Appellee. _______________________________ On Appeal from the United States District Court for the Central District of California, Western Division—Los Angeles Honorable A. Howard Matz, District Judge __________________________________ APPELLANTS’ BRIEF _____________________________________ Steven Marenberg, Esq. State Bar No. 101033 Brian Ledahl, Esq. State Bar No. 186579 Carter Batsell State Bar No. 254396 IRELL & MANELLA, LLP 1800 Avenue of the Stars Suite 900 Los Angeles, California 90067 Telephone: (310) 277-1010 Facsimile: (310) 203-7199 ATTORNEYS FOR APPELLANTS 2221905 Case: 09-56777 04/20/2010 Page: 2 of 100 ID: 7308924 DktEntry: 11-1 TABLE OF CONTENTS Page CORPORATE DISCLOSURE STATEMENT................................................ 2 JURISDICTIONAL STATEMENT ................................................................. 3 ISSUES PRESENTED ..................................................................................... 4 STATEMENT OF THE CASE ........................................................................ 6 FACTS ...........................................................................................................
    [Show full text]
  • 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
    [Show full text]
  • Isabella Clarke Selected to Represent Australia at the Junior Eurovision Song Contest 2017 on Monday 27 November
    RELEASED: SUNDAY 10 SEPTEMBER 2017 Isabella Clarke selected to represent Australia at the Junior Eurovision Song Contest 2017 on Monday 27 November ABC is excited to announce that talented young singer Isabella Clarke will represent Australia at the Junior Eurovision Song Contest 2017 (JESC) held on Sunday 26 November at the Tbilisi Sports Palace, Georgia. From Victoria, Isabella is a 13-year-old singing sensation who made her debut on the Melbourne singing scene four years ago. Since then she’s received many accolades performing at various singing competitions and, at present, holds a coveted principal vocalist role in the Victorian State Schools Spectacular. Isabella is self-confessed foodie who enjoys spending time with her family and friends and credits megastars Beyoncé and Mary J. Blige as her inspiration for singing. She loves Australian comedy television shows, knows how to laugh at herself, and is focused and determined both at school and in performing. Tipped for a bright future, Isabella hopes to join her idols and become an international recording artist. ABC and production partner Blink TV selected Isabella in consultation with leading Australian record companies. Isabella Clarke said: “I’m so honoured to be given the opportunity to represent Australia at such an amazing event. I can’t wait to start rehearsals and film the music video! I’m also looking forward to visiting Georgia for the first time and meeting all the other performers. It’s a dream come true and I hope I do my family and Australia proud.” “Isabella displayed all the qualities we were looking for in this year’s Australian representative,” says Michael Carrington, Head of ABC Children’s Television.
    [Show full text]
  • The Effects of Digital Music Distribution" (2012)
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon.
    [Show full text]
  • Smart Speakers & Their Impact on Music Consumption
    Everybody’s Talkin’ Smart Speakers & their impact on music consumption A special report by Music Ally for the BPI and the Entertainment Retailers Association Contents 02"Forewords 04"Executive Summary 07"Devices Guide 18"Market Data 22"The Impact on Music 34"What Comes Next? Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on the potential of smart speakers for artists 1 and the music industry Forewords Kim Bayley, CEO! Geoff Taylor, CEO! Entertainment Retailers Association BPI and BRIT Awards Music began with the human voice. It is the instrument which virtually Smart speakers are poised to kickstart the next stage of the music all are born with. So how appropriate that the voice is fast emerging as streaming revolution. With fans consuming more than 100 billion the future of entertainment technology. streams of music in 2017 (audio and video), streaming has overtaken CD to become the dominant format in the music mix. The iTunes Store decoupled music buying from the disc; Spotify decoupled music access from ownership: now voice control frees music Smart speakers will undoubtedly give streaming a further boost, from the keyboard. In the process it promises music fans a more fluid attracting more casual listeners into subscription music services, as and personal relationship with the music they love. It also offers a real music is the killer app for these devices. solution to optimising streaming for the automobile. Playlists curated by streaming services are already an essential Naturally there are challenges too. The music industry has struggled to marketing channel for music, and their influence will only increase as deliver the metadata required in a digital music environment.
    [Show full text]
  • 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.
    [Show full text]
  • Backgrounder.Pdf
    Backgrounder March 31, 2016 Universal Music Canada donates archive of music label EMI Music Canada to University of Calgary Partnership with National Music Centre offers public access for education and celebration of music On March 31, 2016, the University of Calgary announced a gift from Universal Music Canada of the complete archive of EMI Music Canada. Universal Music Canada acquired the archive when Universal Music Group purchased EMI Music in 2012. The University of Calgary has partnered with the National Music Centre (NMC) to collaborate on opportunities for the public to celebrate music in Canada through educational programming and exhibitions that highlight the archive at NMC’s new facility, Studio Bell. This partnership began with NMC’s critical role in connecting the university with Universal Music Canada. The EMI Music Canada Archive will be accessible to students, researchers and music fans in Calgary and around the world. The University of Calgary has also partnered with the National Music Centre to collaborate on opportunities for the public to celebrate music in Canada through educational programming and exhibitions that highlight the archive. About the EMI Music Canada Archive The EMI Music Canada Archive documents 63 years of the music industry in Canada, from 1949 to 2012. The collection consists of 5,500 boxes containing more than 18,000 video recordings, 21,000 audio recordings and more than two million documents and photographs. More than 40 different recording formats are represented: quarter‐inch, half‐inch, one‐inch and two‐inch reel‐to‐reel tapes, U‐matic tapes, film, DATs, vinyl, Betacam, VHS, cassette tapes, compact discs and DVDs.
    [Show full text]
  • And Duet Announce an Alliance to Present and Market the On-Demand Music Subscription Service Created by Sony Music Entertainment and Universal Music Group
    Yahoo! and Duet Announce an Alliance to Present and Market the On-Demand Music Subscription Service Created by Sony Music Entertainment and Universal Music Group SANTA CLARA, NEW YORK and PARIS -- April 5, 2001 -- Today, Yahoo! Inc. (Nasdaq: YHOO), a leading global Internet communications, commerce and media company, and Duet, the online digital music subscription service created by the world's two largest music companies, Universal Music Group and Sony Music Entertainment, announced an alliance to present and market Duet's U.S. service to visitors to the Yahoo! network and Yahoo!® Music (http://music.yahoo.com). The Duet subscription service is expected to launch this summer. The on-demand Duet subscription service will offer consumers the opportunity to access a broad range of quality music online with speed, ease of use, and reliability while respecting artists' rights. The service will provide music enthusiasts with the ability to compile personalized playlists and to share them with other Duet members, among other features. The Duet service is expected to launch with streaming music and plans to add downloads shortly thereafter. The Duet subscription service will offer music from Sony Music and Universal Music on a non-exclusive basis. Duet also expects to offer music from other companies, in order to provide consumers with the best experience and access to the most compelling selection of music available. "Yahoo! is pleased to join Sony Music and Universal Music, the world's two largest music companies, to promote the Duet subscription service to U.S. music fans," said Jeff Mallett, president and chief operating officer, Yahoo! Inc.
    [Show full text]
  • UNITED STATES SECURITIES and EXCHANGE COMMISSION Washington, D.C
    Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-Q (Mark One) x QUARTERLY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the quarterly period ended June 30, 2013 OR ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 Commission File Number 001-32502 Warner Music Group Corp. (Exact name of Registrant as specified in its charter) Delaware 13-4271875 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification No.) 75 Rockefeller Plaza New York, NY 10019 (Address of principal executive offices) (212) 275-2000 (Registrant’s telephone number, including area code) Indicate by check mark whether the Registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes ¨ No x Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any, every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such files). Yes x No ¨ Indicate by check mark whether the Registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer or a smaller reporting company.
    [Show full text]
  • Mtv and Transatlantic Cold War Music Videos
    102 MTV AND TRANSATLANTIC COLD WAR MUSIC VIDEOS WILLIAM M. KNOBLAUCH INTRODUCTION In 1986 Music Television (MTV) premiered “Peace Sells”, the latest video from American metal band Megadeth. In many ways, “Peace Sells” was a standard pro- motional video, full of lip-synching and head-banging. Yet the “Peace Sells” video had political overtones. It featured footage of protestors and police in riot gear; at one point, the camera draws back to reveal a teenager watching “Peace Sells” on MTV. His father enters the room, grabs the remote and exclaims “What is this garbage you’re watching? I want to watch the news.” He changes the channel to footage of U.S. President Ronald Reagan at the 1986 nuclear arms control summit in Reykjavik, Iceland. The son, perturbed, turns to his father, replies “this is the news,” and lips the channel back. Megadeth’s song accelerates, and the video re- turns to riot footage. The song ends by repeatedly asking, “Peace sells, but who’s buying?” It was a prescient question during a 1980s in which Cold War militarism and the nuclear arms race escalated to dangerous new highs.1 In the 1980s, MTV elevated music videos to a new cultural prominence. Of course, most music videos were not political.2 Yet, as “Peace Sells” suggests, dur- ing the 1980s—the decade of Reagan’s “Star Wars” program, the Soviet war in Afghanistan, and a robust nuclear arms race—music videos had the potential to relect political concerns. MTV’s founders, however, were so culturally conserva- tive that many were initially wary of playing African American artists; addition- ally, record labels were hesitant to put their top artists onto this new, risky chan- 1 American President Ronald Reagan had increased peace-time deicit defense spending substantially.
    [Show full text]