Self-Produced Audio Media Tariffs

Total Page:16

File Type:pdf, Size:1020Kb

Self-Produced Audio Media Tariffs Work by work CURRENCY : EUR SOCIETY : SABAM PERIOD VALIDITY : 2017 BASIS OF ROYALTY: RRP (Recommended Retail Price) COUNTRY : BELGIUM New Max duration Max number Royalty Rate Minima** Minima** Promotional deduction*** DESCRIPTION code in minutes works / frag rate Deduction* (Incl. 33% deduction) (in €) (Incl. 33% deduction) on manufactured units VINYL % maximum units 45 rpm 17 cm Single S 8 02 / 06 12% 33% 8,000% 0,2796 0,1864 15% 250 45 rpm 17 cm EP EP 16 04 / 12 12% 33% 8,000% 0,3336 0,2224 15% 250 45 rpm (12 inches) Maxi Single DS 16 04 / 12 12% 33% 8,000% 0,6072 0,4048 15% 250 Disco Single Remix (12 inches) RDS 16 04 / 12 12% 33% 8,000% 0,6072 0,4048 15% 250 Maxi Single Remix (7 inches) RMS 16 04 / 12 12% 33% 8,000% 0,6072 0,4048 15% 250 LP 33 rpm 17cm EP EPM 20 06 / 18 12% 33% 8,000% 0,4164 0,2776 15% 250 LP 33 rpm 25 cm MLP 30 10 / 24 12% 33% 8,000% 0,4728 0,3152 15% 250 LP 33 rpm 30 cm LP 60 16 / 28 12% 33% 8,000% 0,6216 0,4144 15% 250 LP Compilation LP2 60 20 / 33 12% 33% 8,000% 0,6216 0,4144 15% 250 LP identical to a CD LP3 80 18 / 30 12% 33% 8,000% 0,6216 0,4144 15% 250 LP Compilation identical LP4 80 20 / 33 12% 33% 8,000% 0,6216 0,4144 15% 250 to a CD Compilation COMPACT DISC CD Single 2 tracks SCD 10 02 / 06 12% 33% 8,000% 0,3864 0,2576 15% 250 CD Singles 3&5 inches CDS 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 CD Maxi-single CDM 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 CD Maxi single remix RCD 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 CD-LP (5 inches) CD 80 18 / 30 12% 33% 8,000% 1,2468 0,8312 15% 250 CD Compilation CD2 80 20 / 33 12% 33% 8,000% 1,2468 0,8312 15% 250 SACD SA 80 18 / 30 12% 33% 8,000% 1,2468 0,8312 15% 250 SACD Compilation SA2 80 20 / 33 12% 33% 8,000% 1,2468 0,8312 15% 250 CD-EXTRA CD Extra Single 2 tracks CES 10 02 / 06 12% 33% 8,000% 0,3864 0,2576 15% 250 CD Extra Single CXS 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 CD Extra Maxi Single CXM 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 CD Extra Maxi Remix RCE 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 CD Extra EP CEP 30 10 / 24 12% 33% 8,000% 0,4728 0,3152 15% 250 CD Extra LP CE 80 18 / 30 12% 33% 8,000% 1,2468 0,8312 15% 250 CD Extra Compilation CE2 80 20 / 33 12% 33% 8,000% 1,2468 0,8312 15% 250 MUSIC CASSETTE MC single SMC 8 2 / 6 12% 33% 8,000% 0,2796 0,1864 15% 250 MC single identical to a CDS SM2 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 MC maxi MMC 16 04 / 12 12% 33% 8,000% 0,3336 0,2224 15% 250 MC EP EMC 16 04 / 12 12% 33% 8,000% 0,3336 0,2224 15% 250 MC Remix RMC 16 04 / 12 12% 33% 8,000% 0,3336 0,2224 15% 250 MC MCP 30 10 / 24 12% 33% 8,000% 0,4728 0,3152 15% 250 MC LP MC 60 16 / 28 12% 33% 8,000% 0,6216 0,4144 15% 250 MC Compilation MC2 80 20 / 33 12% 33% 8,000% 0,6216 0,4144 15% 250 MC identical to a CD MC3 80 18 / 30 12% 33% 8,000% 1,2468 0,8312 15% 250 MC Compilation identical MC4 80 20 / 33 12% 33% 8,000% 1,2468 0,8312 15% 250 to a CD compilation Double MC DMC 120 32 / 56 12% 33% 8,000% 1,2432 0,8288 15% 250 Work by work CURRENCY : EUR SOCIETY : SABAM PERIOD VALIDITY : 2017 BASIS OF ROYALTY: RRP (Recommended Retail Price) COUNTRY : BELGIUM New Max duration Max number Royalty Rate Minima** Minima** Promotional deduction*** DESCRIPTION code in minutes works / frag rate Deduction* (Incl. 33% deduction) (in €) (Incl. 33% deduction) on manufactured units MINIDISC MD Single/ Maxi Single MDS 20 04 / 12 8% 33% 8,000% 0,5952 0,3968 15% 250 MD Maxi Remix MDR 20 04 / 12 8% 33% 8,000% 0,5952 0,3968 15% 250 MD EP MDP 30 10 / 24 8% 33% 8,000% 0,4728 0,3152 15% 250 MD MD 80 18 / 30 8% 33% 8,000% 1,2468 0,8312 15% 250 MD Compilation MD2 80 20 / 33 8% 33% 8,000% 1,2468 0,8312 15% 250 DIGITAL COMPACT CASSETTE DCC DC 80 18 / 30 8% 33% 8,000% 1,2468 0,8312 15% 250 DCC Compilation DC2 80 20 / 33 8% 33% 8,000% 1,2468 0,8312 15% 250 DVD AUDIO DVD Audio Single DAS 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 DVD Audio Maxisingle DAM 20 04 / 12 12% 33% 8,000% 0,5952 0,3968 15% 250 DVD Audio Album DAA 80 18 / 30 12% 33% 8,000% 1,2468 0,8312 15% 250 DVD Audio Compilation DAC 80 20 / 33 12% 33% 8,000% 1,2468 0,8312 15% 250 DVD VIDEO DVD Video Single DVS n/a n/a 12% 33% 8,000% 0,3864 0,2576 15% 250 DVD Video Maxisingle DVM n/a n/a 12% 33% 8,000% 0,5952 0,5952 15% 250 DVD Video Album DVA n/a n/a 12% 33% 8,000% 1,2468 0,8312 15% 250 DVD Video Compilation DVC n/a n/a 12% 33% 8,000% 1,2468 0,8312 15% 250 * De korting van 33% is enkel geldig wanneer de aanvraag tot toelating voorafgaand aan de persing werd ingediend. * La réduction de 33% ne s’applique que si la demande d’autorisation a été faite avant le pressage. * The 33% discount applies only when the request for license was made prior to the pressing. ** = minimum per geluidsdrager ** = minimum par support sonore ** = minimum per sound carrier *** De producent geniet van een korting van 15% op de geperste aantallen voor promotionele doeleinden. Deze korting wordt automatisch door Sabam toegekend en is beperkt tot de eerste licentieaanvraag van elk catalogusnummer. *** Le producteur bénéficie d’uneristourne de 15% sur le nombre d’exemplaires pressés à des fins promotionnelles. Cette ristourne est accordée automatiquement par la Sabam et est limitée à la 1ère demande de licence de chaque n° de catalogue. *** The producer benefits from a deduction of 15% on the manufactured units for promotional use. This deduction is automatically applied by Sabam and is limited to the first license request of each catalogue number. Rue d’Arlon 75−77, 1040 Bruxelles T +32 2 286 82 11 − [email protected] − sabam.be TVA BE 0402 989 270 − RPM Bruxelles IBAN: BE97 3100 7295 0049 − SWIFT BIC: BBRUBEBB.
Recommended publications
  • How to Tape-Record Primate Vocalisations Version June 2001
    How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates.
    [Show full text]
  • Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack.
    [Show full text]
  • 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.
    [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]
  • Digital Radio and CD-Quality Audio
    Technological University Dublin ARROW@TU Dublin Books/Book chapters School of Media 2010-01-01 Sounding the Future: Digital Radio and CD-Quality Audio Brian O'Neill Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaschmedbk Part of the Broadcast and Video Studies Commons, Communication Technology and New Media Commons, and the Film and Media Studies Commons Recommended Citation B. O'Neill, ‘Sounding the future': digital radio and CD-quality audio. In O'Neill, B., M. Ala-Fossi, et al., Eds. (2010). Digital Radio in Europe: Technologies, Industries and Cultures. Bristol, Intellect Books, pp.85-98. This Book Chapter is brought to you for free and open access by the School of Media at ARROW@TU Dublin. It has been accepted for inclusion in Books/Book chapters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License [1] Chapter Four ‘Sounding the future': digital radio and CD-quality audio Brian O’Neill Central to the early effort to win acceptance for DAB in the early 1990s was an extensive process of promotion of the many claimed advantages of the new broadcasting technology. Digital radio broadcasting under the Eureka 147 DAB project offered many technical enhancements – more efficient use of the spectrum, improved transmission methods, and lower running costs – features that were attractive to industry professionals, broadcasting organisations, regulators and spectrum planners. But digital radio was also designed as a consumer proposition offering audiences a new and improved listening experience with ease of tuning, reliable reception, text and data services, interactive features, and significantly, ‘CD- quality’ audio.
    [Show full text]
  • Kathy Sledge Press
    Web Sites Website: www.kathysledge.com Website: http: www.brightersideofday.com Social Media Outlets Facebook: www.facebook.com/pages/Kathy-Sledge/134363149719 Twitter: www.twitter.com/KathySledge Contact Info Theo London, Management Team Email: [email protected] Kathy Sledge is a Renaissance woman — a singer, songwriter, author, producer, manager, and Grammy-nominated music icon whose boundless creativity and passion has garnered praise from critics and a legion of fans from all over the world. Her artistic triumphs encompass chart-topping hits, platinum albums, and successful forays into several genres of popular music. Through her multi-faceted solo career and her legacy as an original vocalist in the group Sister Sledge, which included her lead vocals on worldwide anthems like "We Are Family" and "He's the Greatest Dancer," she's inspired millions of listeners across all generations. Kathy is currently traversing new terrain with her critically acclaimed show The Brighter Side of Day: A Tribute to Billie Holiday plus studio projects that span elements of R&B, rock, and EDM. Indeed, Kathy's reached a fascinating juncture in her journey. That journey began in Philadelphia. The youngest of five daughters born to Edwin and Florez Sledge, Kathy possessed a prodigious musical talent. Her grandmother was an opera singer who taught her harmonies while her father was one-half of Fred & Sledge, the tapping duo who broke racial barriers on Broadway. "I learned the art of music from my father and my grandmother. The business part of music was instilled through my mother," she says. Schooled on an eclectic array of artists like Nancy Wilson and Mongo Santamaría, Kathy and her sisters honed their act around Philadelphia and signed a recording contract with Atco Records.
    [Show full text]
  • Digital Devices in Sociolinguistic Fieldworks
    Digital Devices in Sociolinguistic Fieldworks* [NOTE: This is a largely modified version of Matsuda (2000) and was presented at METHODS (International Conference on Methods in Dialectology) IX Meeting at University of Joensuu on August 5, 2002. In addition to the people I mentioned in Matsuda (2000), I would like to send my cordial thanks to Paul Kerswill, Renée Fürst, T. de Graaf, John Nerbonne, for their comments and discussions at the conference. Renée deserves special thanks here, for providing me with additional references after the conference. It should be stressed, however, that all remaining errors are mine only. This research is partly supported by Grant-in-Aid for Scientific Research #13410139 from Japan Society for the Promotion of Science.] Kenjiro Matsuda Kobe Shoin Women''s University [email protected] 0. Introduction 1. Recyclability of Sociolinguistic Fieldwork Data With the beginning of Variationist paradigm in 1960s, sociolinguists began tape-recording and analyzing the daily speeches in the speech community. The search for the vernacular (in the sense of Labov 1972) was a clear departure from the traditional dialectological fieldwork that elicits a speaker’s response using a questionnaire. The interview may involve one or multiple speakers (group session), but in either case, there is no pre-set time length and the interview may go on as long as the speaker wants to talk. The interviewer may have a course of questions (module) to facilitate the naturalistic interview, so that s/he can obtain a wide range of speech style from the speaker, but the basic principle here is to follow the flow of the talk.
    [Show full text]
  • I Still Believe
    I still believe I still believe was first recorded by Bunny DeBarge in 1986. A year later, Chrysalis artist Brenda K. Starr also recorded a version of the song, who just happened to be employing a back-up singer 0351 5” CD-Single from Austria named Mariah Carey at the time. In 1998, Mariah recorded her own SAMPCS 6452 promo in slimline jewelcase version for her compilation album #1’s. I still believe was released as a single on February 9, 1999 in the USA and on March 1, 1999 Tracklisting: in Europe. On February 23, a remix single, called I still believe/Pure 1. I still believe (Album Version) imagination, was released. On the back cover is a little message for the dj’s: “I want to thank everyone at radio for your continued support. I appreciate ya! Love, Mariah.” On January 5, 2001, Kathi Pinto, a songwriter from California, filed a copyright infringement lawsuit in United States District Court for the Central District of California over the single. Kathi alleges in the suit that she co-wrote a song entitled I still believe in 1981, which was sold to music publisher Galen Senogles at Simple Song Music that same year. As the song switched hands among various publish- 0986 5” CD-Single from Austria SAMPCS 666781-8 ers and record execs over the years through Pinto’s desire for a re- promo without sleeve cording contract, it eventually ended up in the hands of Tom Sturges at Chrysalis Records around 1985. Sturges allegedly helped pen a Tracklisting: tune called I still believe with Antonina Armato and Beppe Canarelli.
    [Show full text]
  • DVR-A03 Product Brochure
    DVD-R/RW,CD-R/RWDVD-R/RW writer Writer DVR-A03 *1 The World’s First! One drive... One complete recording solution Writes: DVD-R*2, DVD-RW, CD-R, CD-RW Reads: DVD-ROM, DVD-Video, DVD-R, DVD-RW, CD-ROM, CD-R, CD-RW, CD-TEXT, Photo CD, Audio CD *1As of March 2001 *2DVD-R For General media DVR-A03 Appearance DVR-A03 Specifications Write Support DVD-R (4.7 GB For General disc only*), DVD-RW, CD-R, CD-RW* Front Panel 1 2 Read Support DVD-ROM single layer/dual layer, DVD-R (all types), DVD-RW, CD-ROM Mode1, CD-ROM XA Mode2 (form 1, form 2), CD-TEXT, Photo CD (single and multiple session), CD-DA (Audio CD), CD-Extra, CD-R, CD-RW (Supports AM2) Write Speed DVD-R 2X-CLV (2.76 MB/s), 1X-CLV (1.38 MB/s) DVD-RW 1X-CLV (1.38MB/s) CD-R 8X-CLV (1.41 MB/s), 4X-CLV (0.70 MB/s) CD-RW 4X-CLV (0.70MB/s) Read Speed DVD-ROM (Single) Max. 4X-CAV (5.52 MB/s) DVD-ROM (Dual) 2X-CLV (2.76MB/s) DVD-R, DVD-RW 2X-CLV (2.76 MB/s) 3 4 5 6 7 8 CD-ROM Max. 24X-CAV (4.23MB/s) CD-R,CD-RW Max. 16X-CAV (2.82MB/s) CD-Audio Max. 10X-CAV (1.76MB/s) Rear Panel 9 Video-CD 4X-CLV (0.70MB/s) Access Time DVD 200 Msec (Randam Average) CD 180 Msec *When DVD-ROM Single Layer Disc and CD-ROM Mode1 Disc are used Interface ATAPI (ATA/ATAPI-5 & SFFC INF8090 Ver.5) Data Buffer 512 kBytes (Read) 2Mbytes (Write) Mounting Orientation Horizontal only Power Requirement +5V +12V 1.2A 0.9A Power Consumption Maximum 23.8W 10 11 12 13 Regulatory Approval UL,CSA,TÜV, CB Report, FIMKO, SEMKO, FCC Class B, FDA, CE Marking, C-Tick, CISPR-22B, Korean EMC, Taiwan EMC Front Panel: 1.Disc Loading Tray 5.Ventilation Holes Dimensions (W x H x D) 148 x 42.3 x 207.5 mm 5-13/16" x 1-11/16" x 8-2/16" 2.Forced Eject Hole 6.Disc Indicator Net Weight 1.1 kg 2 lbs.
    [Show full text]
  • RIAA'') Is Pleased to Provide
    Before the UNITED STATES COPYRIGHT OFFICE Washington, D.C. In the Matter of: Docket No. 2014-03 Music Licensing Study: Notice and Request for Public Comment COMMENTS OF THE RECORDING INDUSTRY ASSOCIATION OF AMERICA, INC. The Recording Industry Association of America, Inc. ("RIAA'') is pleased to provide these Comments in response to the Copyright Office's Notice oflnquiry ("NOI") in the above- captioned proceeding. See Music Licensing Study: Notice and Request for Public Comment, 79 Fed. Reg. 14,739 (Mar. 17, 2014). RIAA is the trade association that represents the music companies that create, manufacture and/or distribute approximately 85% of all legitimate recorded music produced and sold in the United States. The issues raised in the NOi are critically important to RIAA's members. The musical works they license to include in their releases are an essential part of those releases, and they are major licensees of musical works. They are also copyright owners or distributors of audio-only and audiovisual sound recording releases accounting for the vast majority of music usage. Sound recordings and the musical works incorporated therein are subject to disparate licensing systems, including three completely separate systems just for musical works (i.e., for mechanical, performance and synchronization rights). Unfortunately, while the systems for sound recordings are working reasonably well in many respects, there is an emerging consensus that the systems for licensing musical works are not. Accordingly, the question is not whether change would be desirable, but whether it will be possible to achieve consensus concerning what changes should be made to improve musical work licensing.
    [Show full text]
  • ARTIST TITLE FORMAT Marie-Mai Elle Et
    ARTIST TITLE FORMAT Marie-Mai Elle et Moi 12" vinyl Brandi Carlile A Rooster Says 12" The Trews No Time For Later (Limited Edition) 2XLP Charli XCX Vroom Vroom EP 12" EP Ron Sexsmith Hermitage (RSD20EX) 12" vinyl Grouplove Broken Angel 12" My Chemical Romance Life On The Murder Scene (RSD20 EX) LP Black Keys Let's Rock (45 RPM Edition)(RSD20 EX) 2-LP k.d. lang & the Reclines Angel With A Lariat (RSD20 EX) LP k.d. lang Drag (RSD20 EX) 2-LP Phenomenon (Music From The Motion Picture) Music From The Motion Picture (RSD20 EX) 2-LP Music From the X-Files: The Truth and the Light Mark Snow (RSD20 EX) LP Batman & Robin (Music From and Inspired By Music From And Inspired By The Motion Picture) (RSD20 EX) 2-LP Avalon (Original Motion Picture Score) (RSD20 Randy Newman EX) LP Lethal Weapon (Original Motion Picture Soundtrack Soundtrack) (RSD20 EX) LP Metroland (Music and Songs From The Film Mark Knopfler (RSD20 EX) LP Austin Powers: The Spy Who Shagged Me Music From The Motion Picture Soundtrack (RSD20 EX) LP Music From The Motion Picture: Austin Powers In Soundtrack Goldmember (RSD20 EX) LP Randy Newman The Natural (RSD20 EX) LP Tonight In The Dark We're Seeing Colors (RSD20 Tegan and Sara EX) LP Gary Clark Jr. Pearl Cadillac (feat. Andra Day) (RSD20 EX) 10" EP Gorillaz G-Sides (RSD20 EX) LP Gorillaz D-Sides (RSD20 EX) 3-LP Neil Young Homegrown (RSD20 EX) LP Biffy Clyro Moderns (RSD20 EX) 7" Wale Wow…That's Crazy (RSD20 EX) LP Skid Row Slave To The Grind (Expanded) 2LP Live from the Apollo Theatre Glasgow Feb Alice Cooper 19.1982 2LP - 140gram black vinyl Fleetwood Mac The Alternate Rumours 1LP, 180gram, black vinyl 5-LP, 180-gram vinyl, with Grateful Dead Buffalo 5/9/77 10th-side etching.
    [Show full text]
  • Registration Policies Change Going Down Withdraw! Policy Passes; Pre-Scheduling for Freshmen Fails
    Marshall University Marshall Digital Scholar The Parthenon University Archives Summer 7-18-1996 The Parthenon, July 18, 1996 Marshall University Follow this and additional works at: https://mds.marshall.edu/parthenon Recommended Citation Marshall University, "The Parthenon, July 18, 1996" (1996). The Parthenon. 3423. https://mds.marshall.edu/parthenon/3423 This Newspaper is brought to you for free and open access by the University Archives at Marshall Digital Scholar. It has been accepted for inclusion in The Parthenon by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. THURSDAY July 1 B, 1996 . Marshall University . I u I I. ,-=..., r read the parthenon on the internet - parthenon@ marshall.edu INside Registration policies change going down Withdraw! policy passes; pre-scheduling for freshmen fails by CHRIS JOHNSON from high demand courses during the 1996 fall editor term-W period (Sept.3 - Oct. 18) will not be permitted to register for these courses for the A new withdraw! policy that will go into 1997 spring term until the regular registration affect during the fall 1996 term should keep period which begins Jan•. 6, 1997. students from 'shopping around' in certain • "Using English 101 as an example, sometimes classes. · studepts find the work more exacting than they Dr. Frances S.·Hensley, assistant vice-presi­ thought and.they get frightened away, or they dent of academic affairs, said, "The new · get caught out on the student grape-vine· and withdraw} policy is for a selected group of high they say, 'ifI drop it n·ow, I can ta:ke so and so the demand classes.
    [Show full text]