Sony to Acquire Equity Interest in EMI Music Publishing
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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. -
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. -
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. -
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. -
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. -
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. -
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. -
Alternative Injured Hip Hop Assignment Name:______Pd: ___ PART 1: Review Questions
Alternative Injured Hip Hop Assignment Name:____________ Pd: ___ PART 1: Review questions Directions: Complete questions 1-4 on a separate sheet of paper OR on the supplied sheet of paper. Make sure responses are clear and complete thoughts. 1. So far, what units (of dance) did we cover in class? ___________________________________________________________________________________________ ___________________________________________________________________________________________ ___________________________________________________________________________________________ 2. Which of the following is not practiced in Hip Hop Dance?( Circle answer) a. Tutting b. Allegro c. Isolations d. Popping 3. What are the 3 major break dance/hip hop concepts and where did each one originate from. a. _________________________ b. _________________________ c. ______________________________ _________________________ _________________________ ______________________________ PART 2: Hip Hop Dance Analysis Directions: After participating and observing in both Hip Hop dances, apply your critical thinking skills by analyzing both hip hop tutorial video clips. Each clip will ask slightly different questions, so read the questions carefully. Both videos/tutorials can be found on youtube. Choreo #1- Shape of you ( search SHAPE OF YOU - TUTORIAL | Miles Keeney Choreography) 4. Matching lyrics to movements, list all hip hop movements (Steps we learned may include: Fresno, Top-rock, 1-2 step, wobble, Indian Step, Battle rock, Waving, Tutting, slow motion matrix, freeze pose/stall, boogaloo, Spins, etc.) that are used in this video/choreography. When listing hip hop steps, be sure to match the step with the song lyric when dance is being performed. (Only analyzing video from 0:00 to 11:27). Example: fresno towards stage left on “shape of you:” Alternative Injured Hip Hop Assignment Name:____________ Pd: ___ 5. After reviewing the video, comment on the instruction/delivery of information from the choreographer (teacher). -
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. -
Trap Spaces, Trap Music: Harriet Jacobs, Fetty Wap, and Emancipation As Entrapment
Trap Spaces, Trap Music: Harriet Jacobs, Fetty Wap, and Emancipation as Entrapment SEAN M. KENNEDY Set in a New York City trap house—an apartment that serves as the hub for an outlaw drug business—Fetty Wap’s 2014 song and video “Trap Queen” depicts the stacks of U.S. currency and the manufacture of product that are core aspects of the genre of trap music. But the song and video also portray an outlier to this strategic essentialism: namely, the loving romance at its center which challenges the mainstream common sense of the misogyny of rap. Likewise, the sonics of “Trap Queen”—upbeat, even joyful—contrast with the aural hardness of much of the genre. In these ways, “Trap Queen” is an important pop-cultural political intervention against both the enduring pathologizing of Black life and the sense of siege with which many Black people, especially poor ones, are perceived to live.1 But while Fetty Wap’s persona in “Trap Queen” can be understood as a homo- economicus figure (Wynter 123) of the informal economy—a breadwinner who can self-determine his own life, albeit within the narrow bounds of criminalized enterprise—that burdened self-possession is doubled for his female partner presented as a woman who will happily do anything for her “man,” from cooking crack to giving him a lap dance (see Figure 1). These labors are shown to be uncoerced. Nevertheless, the larger structures of the racial-capitalist formal economy essentially force many Black women into such gendered survival labor. Indeed, the situation of these women, which Fetty Wap’s “trap queen” only partially evokes, illustrates the thinness of freedom under liberal democracy of which emancipation from slavery is considered paradigmatic. -
Most Requested Songs of 2015
Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence® music request system at weddings & parties in 2015 RANK ARTIST SONG 1 Ronson, Mark Feat. Bruno Mars Uptown Funk 2 Journey Don't Stop Believin' 3 Cupid Cupid Shuffle 4 Swift, Taylor Shake It Off 5 Walk The Moon Shut Up And Dance 6 Williams, Pharrell Happy 7 Black Eyed Peas I Gotta Feeling 8 Diamond, Neil Sweet Caroline (Good Times Never Seemed So Good) 9 Sheeran, Ed Thinking Out Loud 10 V.I.C. Wobble 11 Houston, Whitney I Wanna Dance With Somebody (Who Loves Me) 12 AC/DC You Shook Me All Night Long 13 Bon Jovi Livin' On A Prayer 14 DJ Casper Cha Cha Slide 15 Mars, Bruno Marry You 16 Maroon 5 Sugar 17 Morrison, Van Brown Eyed Girl 18 Usher Feat. Ludacris & Lil' Jon Yeah 19 Legend, John All Of Me 20 B-52's Love Shack 21 Isley Brothers Shout 22 DJ Snake Feat. Lil Jon Turn Down For What 23 Outkast Hey Ya! 24 Brooks, Garth Friends In Low Places 25 Beatles Twist And Shout 26 Pitbull Feat. Ke$Ha Timber 27 Def Leppard Pour Some Sugar On Me 28 Jackson, Michael Billie Jean 29 Sir Mix-A-Lot Baby Got Back 30 Trainor, Meghan All About That Bass 31 Beyonce Single Ladies (Put A Ring On It) 32 Loggins, Kenny Footloose 33 Rihanna Feat. Calvin Harris We Found Love 34 Lynyrd Skynyrd Sweet Home Alabama 35 Bryan, Luke Country Girl (Shake It For Me) 36 Sinatra, Frank The Way You Look Tonight 37 Lmfao Feat. -
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 .