Directory of U.S. Recording Studios
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Isr Presentation 2019
ISR PRESENTATION 2019 1 STRATEGY FNAC DARTY OMNICHANNEL LEADER IN EUROPE Technical products 51% France & Editorial products €7.5bn revenue – 25,000 employees Switzerland 78% 2018 17% 2018 Top 3 European Omnichannel Retailer Turnover Turnover Iberian €7.5bn White goods €7.5bn Peninsula 9% 22% 780+ multiformat stores in 12 countries Other products and Benelux 13% services (3) 10% 2nd largest e-commerce retailer in France(1) What brand do you think best embodies the success of the 19% of Group sales omnichannel transition? 4th barometer Oliver Wyman – October 2017 81 million transactions 51% 34% (2) 32% No. 1 after-sales service in France 28% 22% 19% 15% 8 million loyalty program members 11% 9% 7% 6% 49% of online sales are omnichannel 5% 3% 1% 0% 1 Source: FEVAD, 2018 0% 10% 20% 30% 40% 50% 60% 2 Internal customer studies 3 Include: Ticketing, B2B, after sales service, membership fees, franchise fees, insurance, consumer credit 3 LEADING POSITIONS IMPLYING RESPONSABILITY… Audits carried out in 2018 on manufacturing facilities of our own-brand product suppliers in all client # our markets, # for key suppliers, specifically on high- in share of wallet 27 end products 1 1 CSR check points 44 43.5% 41% 31 99 29 28 27 26 26 27 21 21 25% 28% audited plants 19 16 16 18 19% 18 unsatisfactory CSR audit TOTAL CE IT Telecom SDA MDA Book Audio/ Supplier #1 Supplier #2 Supplier #3 Supplier #4 Supplier #5 video/ gaming Strict rules and audit procedures with our suppliers: Fnac Darty market share in Premium segments: 3rd and 4th quartile1 . -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The Jays Jay Brown NATION BUILDER
The Jays Jay Brown NATION BUILDER oc Nation co-founder of the arts, having joined the and CEO Jay Brown Hammer Museum’s board of R has succeeded beyond directors in 2018, as well as his wildest dreams. He’s part of a champion of philanthropic Jay-Z’s inner circle, along with causes. In short, this avid fish- longtime righthand man Tyran erman keeps reeling in the big “Tata” Smith, Roc Nation ones. Brown is making his COO Desiree Perez and her mark, indelibly and with a deep- husband, Roc Nation Sports seated sense of purpose. President “OG” Juan Perez. “I think the legacy you He’s a dedicated supporter create…is built on the people RAINMAKERS TWO 71 you help,” Brown told CEO.com in “Pon de Replay,” L.A. told Jay-Z not to Tevin Campbell, The Winans, Patti 2018. “It’s not in how much money you let Rihanna leave the building until the Austin, Tamia, Tata Vega and Quincy make or what you buy or anything like contract was signed. Jay-Z and his team himself—when he was 19. “He mentored that. It’s about how many people you closed a seven-album deal, and since then, me and taught me the business,” Brown touch. It’s in how many jobs you help she’s sold nearly 25 million albums in the says of Quincy. “He made sure if I was people get and how many dreams you U.S. alone, while the biggest of her seven going to be in the business, I was going to help them achieve.” tours, 2013’s Diamonds World Tour, learn every part of the business.” By this definition, Brown’s legacy is grossed nearly $142 million on 90 dates. -
Run the World
Run the World Het vermeende spanningsveld tussen feminisme en seksualiteit in de hedendaagse popmuziek Loes Berends 07-07-2015 Master Kunst- en Cultuurwetenschappen Radboud Universiteit Nijmegen Run the World This goes out to all the women getting it in, you on your grind To all the men that respect, point out that, please accept my shine Boy you know you love it how we smart enough to make these millions Strong enough to bear the children, then get back to business. (Beyoncé, Run the World (Girls), 2011) 1 Abstract Run the World The supposed field of tension between feminism and female sexuality in modern pop music. Recently more and more female pop stars started to declare to be feminists. Singer Beyoncé Knowles-Carter is one of them. During her VMA performance in 2014 she made a significant feminist statement while performing her song ***Flawless, standing in front of a giant luminous FEMINIST sign. A lot of critique on this statement followed. Although Beyoncé is claiming to be a feminist, she has been putting a lot of emphasis on her body, looks and sexuality, in both her music and her videos. Therefore, the current study examines how Beyoncés feminist claim can be interpreted through theories about (modern) feminism and sexualization in pop culture, and thereby how these subjects intertwine and contradict. It analyses how core values in pop culture like authenticity, image, sexuality, tone of voice, context, commerciality, and personal autonomy are used in creating a personal message like Beyoncé does. The research focuses on Beyoncé as an artist, her career, and her newest self-titled album including the song ***Flawless. -
Reconciling Social Norms and Copyright Law: Strategies for Persuading People to Pay for Recorded Music Mark F
Journal of Intellectual Property Law Volume 17 Issue 1 Symposium - The Changing Face of Copyright Article 6 Law: Resolving the Disconnect Between 20th Century Laws and 21st Century Attitudes October 2009 Reconciling Social Norms and Copyright Law: Strategies for Persuading People to Pay for Recorded Music Mark F. Schultz Southern Illinois University School of Law Follow this and additional works at: https://digitalcommons.law.uga.edu/jipl Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Mark F. Schultz, Reconciling Social Norms and Copyright Law: Strategies for Persuading People to Pay for Recorded Music, 17 J. Intell. Prop. L. 59 (2009). Available at: https://digitalcommons.law.uga.edu/jipl/vol17/iss1/6 This Article is brought to you for free and open access by Digital Commons @ Georgia Law. It has been accepted for inclusion in Journal of Intellectual Property Law by an authorized editor of Digital Commons @ Georgia Law. Please share how you have benefited from this access For more information, please contact [email protected]. Schultz: Reconciling Social Norms and Copyright Law: Strategies for Persua RECONCILING SOCIAL NORMS AND COPYRIGHT LAW: STRATEGIES FOR PERSUADING PEOPLE TO PAY FOR RECORDED MUSIC Mark F. Schultz INTRODUCTION ................................................. 60 I. WHEN IS SURRENDER THE RIGHT OPTrION? CHANGING THE LAW OR ABANDONING ENFORCEMENT ......................... 62 A. HOW NORMS OVERCOME LAWS .............................. 63 B. DETERMINING WHEN TO CHOOSE THE SURRENDER STRATEGY .... 63 C. THE SURRENDER STRATEGY AND THE MUSIC BUSINESS .......... 68 Ii. SURVEYING THE ALTERNATE STRATEGIES ....................... 70 A. DETERRENCE: RAMPING UP ENFORCEMENT AND PENALTIES ..... 70 1. Deterrence Strategiesin General............................. -
Black Light Burns Cruel Melody Mp3, Flac, Wma
Black Light Burns Cruel Melody mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Cruel Melody Country: US Released: 2007 Style: Electro, Goth Rock MP3 version RAR size: 1390 mb FLAC version RAR size: 1273 mb WMA version RAR size: 1864 mb Rating: 4.4 Votes: 555 Other Formats: VQF WMA AU VOX MOD AC3 MIDI Tracklist Hide Credits Mesopotamia 1 4:29 Mixed By – Ross Robinson, Ryan Boesch 2 Animal 4:08 Lie 3 4:21 Bass – Danny LohnerProgrammed By [Additional] – Charlie Clouser Coward 4 4:36 Bass, Guitar – Danny LohnerVocals [Additional] – Sonny Moore Cruel Melody 5 5:00 Vocals [Additional] – Carina Round 6 The Mark 3:13 I Have A Need 7 4:24 Bass – Sam Rivers Guitar – Danny Lohner 8 4 Walls 3:51 9 Stop A Bullet 3:37 10 One Of Yours 4:51 New Hunger 11 Cello – John Krovoza, Matt Cooker*, Richard Dodd Viola – Leah KatzViolin – Daphne Chen, 5:24 Eric Gorfain I Am Where It Takes Me 12 Cello – John Krovoza, Matt Cooker*, Richard Dodd Drums – Wes BorlandViola – Leah 6:09 KatzViolin – Daphne Chen, Eric GorfainVocals [Additional] – Johnette Napolitano Iodine Sky 13 8:30 Mixed By – Wes Borland Credits Drums, Percussion – Josh Freese Engineer – Critter*, Josh Eustis* Engineer [Additional] – Danny Lohner, Wes Borland Lead Vocals, Guitar, Bass, Programmed By, Percussion, Synthesizer, Piano, Electric Piano [Rhodes], Violin, Cello – Wes Borland Mixed By – Tom Lord-Alge (tracks: 2 to 12) Performer [Live Bass] – Sean Fetterman Performer [Live Drums] – Marshall Kilpatric Performer [Live Guitar] – Nick Annis Performer [Live Vocals, Guitar] -
Diploma in Songwriting and Music Production
Diploma in Songwriting and Music Production Qualification Modules and Hours S/N Code Module Name Face-to-Face Self-Learning Contact Hours Hours 1 CS001 Modern Production Essentials 36 18 2 CS002 Melody Writing 36 18 3 CS003 Ear Training 18 9 4 CS004 Lyrics Writing 18 9 5 CS005 Studio Techniques 36 18 6 CS006 Music Industry and Artiste Management 36 18 Essentials 7 CS007 Creative Thinking 36 18 8 PS008 Writing Commercial Music for Moving 36 18 Images 9 PS009 Music Arrangement for Popular Music 36 18 10 PS010 Mixing and Mastering 36 18 11 PS011 Music Production Analysis 36 18 12 PS012 Essential Skills of a Record Producer 36 18 13 PS013 Live Sound Essentials 36 18 14 FYP Final Year Project 240 432 456 Total Learning Hours 888 Module Synopsis CS 001: Modern Production Essentials This module equips students with knowledge and skills essential for songwriters in the 21st century. A range of topics covered include key roles in songwriting, songwriting workflow, music copyrights, basic music theory, synthesis and digital audio workstation (DAW). These foundational knowledge and skills form the basic ingredients that would prepare songwriters to both create up-to-date works at professional level, as well as negotiate effectively, efficiently and professionally in a contextually updated manner when dealing, working and collaborating with others in the music industry today. CS 002: Melody Writing This module deals with knowledge and skills needed for melody writing in the context of songwriting for popular music markets. Students will learn song forms of popular music genres of different markets, primary (motif), secondary (musical form) and tertiary (song structure) components of songs, as well as approaches in creative writing that will culminate in producing what is termed a hit song. -
An Incredible New Sound for Engineers
An Incredible New Sound for Engineers Bruce Swedien comments on the recording techniques and production HIStory of Michael Jackson's latest album by Daniel Sweeney "HIStory" In The Making Increasingly, the launch of a new Michael Jackson collection has taken on the dimensions of a world event. Lest this be doubted, the videos promoting the King of Pop's latest effort, "HIStory", depict him with patently obvious symbolism as a commander of armies presiding over monster rallies of impassioned followers. But whatever one makes of hoopla surrounding the album, one can scarcely ignore its amazing production values and the skill with which truly vast musical resources have been brought to bear upon the project. Where most popular music makes do with the sparse instrumentation of a working band fleshed out with a bit of synth, "HIStory" brings together such renowned studio musicians and production talents as Slash, Steve Porcaro, Jimmy Jam, Nile Rodgers, plus a full sixty piece symphony orchestra, several choirs including the Andrae Crouch Singers, star vocalists such as sister Janet Jackson and Boys II Men, and the arrangements of Quincy Jones and Jeremy Lubbock. Indeed, the sheer richness of the instrumental and vocal scoring is probably unprecedented in the entire realm of popular recording. But the richness extends beyond the mere density of the mix to the overall spatial perspective of the recording. Just as Phil Spector's classic popular recordings of thirty years ago featured a signature "wall of sound" suggesting a large, perhaps overly reverberant recording space, so the recent recordings of Michael Jackson convey a no less distinctive though different sense of deep space-what for want of other words one might deem a "hall of sound". -
Popular Music, Stars and Stardom
POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona . -
Adeq Draft Operating Air Permit
ADEQ DRAFT OPERATING AIR PERMIT Pursuant to the Regulations of the Arkansas Operating Air Permit Program, Regulation 26: Permit No. : 0801-AOP-R10 IS ISSUED TO: Blue Cube Operations LLC 3230 Dow Drive Russellville, AR 72802 Pope County AFIN: 58-00011 THIS PERMIT AUTHORIZES THE ABOVE REFERENCED PERMITTEE TO INSTALL, OPERATE, AND MAINTAIN THE EQUIPMENT AND EMISSION UNITS DESCRIBED IN THE PERMIT APPLICATION AND ON THE FOLLOWING PAGES. THIS PERMIT IS VALID BETWEEN: AND THE PERMITTEE IS SUBJECT TO ALL LIMITS AND CONDITIONS CONTAINED HEREIN. Signed: Stuart Spencer Date Associate Director, Office of Air Quality Blue Cube Operations LLC Permit #: 0801-AOP-R10 AFIN: 58-00011 Table of Contents SECTION I: FACILITY INFORMATION .............................................................................. 4 SECTION II: INTRODUCTION ............................................................................................... 5 Summary of Permit Activity .................................................................................................... 5 Process Description ................................................................................................................... 5 Regulations .............................................................................................................................. 12 Emission Summary ................................................................................................................. 13 SECTION III: PERMIT HISTORY .......................................................................................