List of Local Licensee
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Jay Graydon Discography (Valid July 10, 2008)
Jay Graydon Discography (valid July 10, 2008) Jay Graydon Discography - A (After The Love Has Gone) Adeline 2008 RCI Music Pro ??? Songwriter SHE'S SINGIN' HIS SONG (I Can Wait Forever) Producer 1984 258 720 Air Supply GHOSTBUSTERS (Original Movie Soundtrack) Arista Songwriter 1990 8246 Engineer (I Can Wait Forever) Producer 2005 Collectables 8436 Air Supply GHOSTBUSTERS (Original Movie Soundtrack - Reissue) Songwriter 2006 Arista/Legacy 75985 Engineer (I Can Wait Forever) Producer Air Supply DEFINITIVE COLLECTION 1999 ARISTA 14611 Songwriter (I Can Wait Forever) Producer Air Supply ULTIMATE COLLECTION: MILLENNIUM [IMPORT] 2002 Korea? ??? Songwriter (I Can Wait Forever) BMG Entertainment 97903 Producer Air Supply FOREVER LOVE 2003 BMG Entertainment, Argentina 74321979032 Songwriter (I Can Wait Forever) FOREVER LOVE - 36 GREATEST Producer Air Supply HITS 1980 - 2001 2003 BMG Victor BVCM-37408 Import (2 CDs) Songwriter (I Can Wait Forever) Producer Air Supply PLATINUM & GOLD COLLECTION 2004 BMG Heritage 59262 Songwriter (I Can Wait Forever) Producer Air Supply LOVE SONGS 2005 Arista 66934 Songwriter (I Can Wait Forever) Producer Air Supply 2006 Sony Bmg Music, UK 82876756722 COLLECTIONS Songwriter Air Supply (I Can Wait Forever) 2006 Arista 75985 Producer GHOSTBUSTERS - (bonus track) remastered UPC: 828767598529 Songwriter (I Can Wait Forever) Producer Air Supply 2007 ??? ??? GRANDI SUCCESSI (2 CD) Songwriter (I Can Wait Forever) ULTIMATE COLLECTION Producer Air Supply 2007 Sony/Bmg Import ??? [IMPORT] [EXPLICIT LYRICS] [ENHANCED] Songwriter (I Can Wait Forever) Producer Air Supply ??? ??? ??? BELOVED Songwriter (I Can Wait Forever) Producer Air Supply CF TOP 20 VOL.3 ??? ??? ??? Songwriter (Compilation by various artists) (I Can Wait Forever) Producer Air Supply COLLECTIONS TO EVELYN VOL. -
Marketing in the Music Industry
Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky Marketing in the Music Industry (Bakalářská práce) Autor: Jan Kašpír Studijní obor: Angličtina se zaměřením na aplikovanou ekonomii Vedoucí práce: Joseph James Ference Dr. Olomouc 2012 I declare that I elaborated this paper independently and that I mentioned the absolute list of works cited In Olomouc on the day I hereby express my deepest gratitude towards Dr. Joseph Ference for his constant guidance, advice and patience in the development of this bachelor thesis. List of Abbreviations Used in the Thesis A&R – artist and repertoire ARC – American Record Corporation BBC – British Broadcasting Company BMG – Bertelsmann Music Group CBS – Columbia Broadcasting System CD – compact disc CD-R – recordable compact disc CD-ROM – Compact Disc Read-only memory – preprinted CD containing data readable by a computer CEO – chief executive officer DAT – Digital Audio Tape DMCA – Digital Millennium Copyright Act DNS – Domain Name System DRM – Digital Rights Management EMI – Electrical and Musical Industries e-tailer – electronic (internet) retailer GE – General Electric IFPI – International Federation of the Phonographic Industry IP – internet protocol ISP – internet service provider LP – long play record M. C. – music cassette MCA – Music Corporation of America mp3 – MPEG2 Audio Layer III – audio compression format P2P – peer-to-peer: computer internet network allowing users to share files PIPA - PROTECT IP Act - Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property Act of 2011 R&B – Rhythm and Blues SME – Sony Music Entertainment SOPA – Stop Online Piracy Act UMG – Universal Music Group VCR – video cassette recorder WEA – Warner-Elektra-Atlantic WMG – Warner Music Group Table of Contents 1 Introduction .................................................................................................... -
Clkaju ES Cijongoi I
ASM RECORDS DECCA RECORD COMPANY DEUTSCHE GRAMMOPHON GEFFEN RECORDS GLOBAL e INTERSCOPE RECORDS ISLAND DEF JAM MUSIC GROUP PUBLIC VERSION JIMMY AND DOUG'S FARMCLUB.corn MCA NASHVILLE MCA RECORDS MERCURY NASHVILLE MERCURY RECORDS MOTOWN RECORDS PH I LIPS POLYDOR UNIVERSAL RECORDS VERVE MUSIC GROUP eLabsUM'NIVERSAL UNIVERSAL MUSIC INTERNATIONAL UNIVERSAL MUSIC ENTERPRISES TESTIMONY OF UNIVERSAL MUSIC PUBLISHING GROUP UNIVERSAL MUSIC 8 VIDEO DISTRIBUTION ClKAJU ES CIjONGOI I SENIORVICE PRESIDENT, FINANCE UNIVERSAL MUSIC GROUP Los Angeles, California Before the Copyright Arbitration Royalty Panel Washington, D.C. April 2001 UNIVERSAL MUSIC GROUP 2220 COLORADO AVE SANTA MONICA CA 90404 TEL 310 865 5000 PUBLIC Table of Contents Page Qualifications Summary. Discussion A. Net A8zR Investment B. Marketing Costs C. Overhead D. Manufacturing Costs Statement of Experience Material Redacted Pursuant To Protective Order In Copyright Office Docket No. 2000-9 CARP DTRA 1&2 PUBLIC Quali6cations I am Senior Vice President, Finance, for Universal Music Group, Inc. ("UMG"). I am responsible for the financial activities of UMG's North American operations, which include several record labels (such as MCA Records, Motown Records, Interscope Records, Geffen Records, Mercury Records, Island Def Jam Music Group, Polydor, Philips and Verve Music Group), as well as music publishing, distribution and manufacturing operations. UMG is the largest record company in the United States and has a market share of about 27%. Universal Music Publishing Group ("Universal Publishing") is the third largest music publishing operation in the United States, with a market share of approximately 15%. Prior to assuming my current position, I served as Vice President and Group Controller for both MCA Records and MCA Music Publishing. -
Music Multinationals and Local Music Industries Since 1945
Working Papers No. 170/12 Adopting the rights-based model: music multinationals and local music industries since 1945 Gerben Bakker © Gerben Bakker September 2012 1 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0) 20 7955 7860 Fax: +44 (0) 20 7955 7730 3 Adopting the rights-based model: music multinationals and local music industries since 19451 Gerben Bakker2 ABSTRACT This paper identifies four economic tendencies that shaped the development of the international recorded music industry since 1945: the importance of endogenous sunk costs led to a quality race; the fact that marginal revenue equalled marginal profit led to extreme vertical integration; the quasi-public good character of musicits non-diminishability but partial excludabilityled to a sharply unequal income distribution among stars and the pioneering of new business models to transform consumer into producer surplus; and finally, the project- based character of music production led to decentralised agglomeration. What can be characterised as rights-based multinationals emerged as a response to these forces. They married extreme vertical integration and a portfolio of A&R labels having limited economies of scale and scope, with a global distribution and marketing machine. This paper tries to explain how they emerged and how they can explain increasing industrial concentration in the face of sharp growth of the market and of musical diversity. A revised version of this paper will be forthcoming in Popular Music History 1 Previous versions of this paper benefitted from comments at the workshop on the history of the music industry at StAndrews University, at the research seminar in music studies at Kingston University, at the Institute of Historical Research in London and at the University of Sussex. -
CREATIVITY and INNOVATION in the MUSIC INDUSTRY Creativity and Innovation in the Music Industry
CREATIVITY AND INNOVATION IN THE MUSIC INDUSTRY Creativity and Innovation in the Music Industry by PETER TSCHMUCK Institute of Culture Management and Culture Science, University of Music and Performing Arts Vienna, Austria A C.I.P. Catalogue record for this book is available from the Library of Congress. ISBN-10 1-4020-4274-4 (HB) ISBN-13 978-1-4020-4274-4 (HB) ISBN-10 1-4020-4275-2 (e-book) ISBN-13 978-1-4020-4275-1 (e-book) Published by Springer, P.O. Box 17, 3300 AA Dordrecht, The Netherlands. www.springer.com Printed on acid-free paper Printed with the support of the Austrian Ministery of Education, Science, and Culture All Rights Reserved © 2006 Springer No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed in the Netherlands. TABLE OF CONTENTS Preface ix Acknowledgements xi Introduction xiii 1. Aim and Structure of the Book xiii 2. Implications of Culture Institutions Studies xvi Chapter 1: The Emergence of the Phonographic Industry 1 Within the Music Industry 1. The Phonograph as Business Machine 1 2. “Coin-in-the-Slot:”-Machine 6 3. Records and Gramophones 9 4. “Herr Doctor Brahms Plays the Piano” 15 Chapter 2: The Music Industry Boom until 1920 19 1. -
Charles Ciongoli Testimony
Before the COPYRIGHT ROYALTY BOARD LIBRARY OF CONGRESS Washington, D.C. ) In the Matter of ) 1 ADJUSTMENT OF RATES AND TERMS FOR ) Docket No. 2006-1 CRB DSTRA PREEXISTING SUBSCRIPTION SERVICES 1 AND SATELLITE DIGITAL AUDIO RADIO ) SERVICES 1 ) TESTIMONY OF CHARLES CIONGQLI Executive Vice President and Chief Financial Officer Universal Music Group North America PUBLIC VERSION October 2006 Public Version DIRECT TESTIMONY OF CHARLES CIONGOLI INTRODUCTION A. Background and Qualifications I am Executive Vice President and Chief Financial Officer for Universal Music Group North America ("UMG"), a position I have held since 2003. I ultimately am responsible for all the finance activities of UMG's North American operations, which includes nine United States record label groups, as well as music publishing, distribution, and manufacturing operations. In my capacity as Executive Vice President and Chief Financial Officer, I have personal knowledge of, and regularly review, the finances of UMG's record label operations in the United States. I was previously Senior Vice President of Finance for UMG. Prior to that, I was employed as Vice President of Finance for MCA Records, and also served as Vice President and Group Controller for both MCA Records and MCA Music Publishing. I began my employment with MCA in 1990 as the Group Controller for the MCA Music Entertainment Group, which became UMG in 1996. Prior to joining MCA in 1990, I was a Senior Manager with the international accounting and consulting firm Price Waterhouse where, for ten years, I provided a variety of audit, accounting and special services for Mergers and Acquisitions. I received a Bachelor's degree in Finance and Auditing from California State University at Northdge. -
The Global Jukebox: the International Music Industry
The Global Jukebox Popular music is with us constantly. It is part of our everyday environment in McLuhan’s ‘Global Village’ and is now amongst the most universal means of communication. The Global Jukebox is the first comprehensive study of the international music industry at a time of great change, as the entertainment industry acknowledges its ever growing global audience. It provides an international overview of the music business and its future prospects in the global marketplace. As record companies are swallowed up by massive multimedia empires Robert Burnett examines the relationship between local and global cultures and between concentration of ownership (the ‘Big Six’ multinational corporations Time Warner, Sony, Philips, Bertelsmann, Thorn-EMI and Matsushita) and the impact of subsequent economic imperatives on music production and consumption. Other topics include definitions of popular music; current industry developments; the new media technologies —digitalization, satellite broadcasting and ‘virtual music stores’ on the Internet; and the role of the largest and single most important market for commercial music, the United States. The Global Jukebox not only illuminates the workings of the contemporary entertainment industries, it captures the dynamics at work in the production of musical culture between the transnational media conglomerates, the independent music companies and the public. It is essential reading for anyone studying popular music. Robert Burnett is Head of Media and Communication Studies at the University -
Labels Revamp Stocking Deals
08120 EEB04 9GREENLYMONT00 NEWSPAPER MONTY AP4P3 GREENLY 03 10 3740 ELM CTY LONG BEACH CA 90807 A Billboard Publication The International Newsweekly Of Music & Home Entertainment March 13, 1982 $3 (U S ) Labels Revamp Stocking Deals MATHIAS AMENDMENT RCA, WEA, CBS Seeking Deeper Catalog Commitment Betamax Bill Adds By JOHN SIPPEL LOS ANGELES -In a dramatic yearly consolidated ordering on se- log, with accounts receiving a 10` Audio Clause, Fee I confluence of program introduc- lected titles in its Red Seal classical discount and 120 days billing. By BILL HOLLAND tions, branch -distributed labels are catalog (see story, page 3). CBS is yet to officially commit to attempting to induce accounts to And at WEA, Henry Droz, presi- radical programs of the sort coming WASHINGTON -A new amend- ularity of the Betamax Bill, intro- make deeper catalog stocking and dent, confirms that the distribution from RCA and WEA, but it may not ment covering audio home taping duced in late November by Sen. consolidated ordering through on- giant will announce Monday (8) "a be far down the road. The company and the creation of a compulsory li- Dennis DeConcini (D -Az), as a con- going discount and dating opportu- much more flexible program than recently tested a classical program cense to compensate copyright own- sumer issue, the new amendment fo- nities. any thus far." The WEA program wherein dealers were urged to con- ers of music and recordings whose cuses significant Congressional and RCA Records has introduced a will operate on a monthly basis from solidate their monthly order for the works are being taped at home by consumer attention for the first time "Great Artists /Great Performances" a selection of 170 jazz- oriented al- third week of the month, receiving as consumers was introduced Monday on the substantial financial losses 72) program, tagged to three -times- hums and the entire Nonesuch cata- an incentive an additional 5% and (1) by Sen. -
Performance Awards Best Performance by a Female
LIST OF FINALISTS Performance Awards Best Performance by a Female Recording Artist Vocal Quality (30%) Musicality (30%) Interpretation (40%) Nominee(s) Song Title Record Label Artist 1. On The Wings Of Love Kyla ABS-CBN Film Productions, Inc. (Star Music) 2. ‘Di Mapaliwanag Morissette (Amon) ABS-CBN Film Productions, Inc. (Star Music) 3. Paano Ko Tuturuan Ang Puso Karylle Polyeast Records 4. Araw Gabi Aiza Seguerra Universal Records, Inc. 5. Parang Wala Lang Tippy Dos Santos Universal Records, Inc. Best Performance by a Male Recording Artist Vocal Quality (30%) Musicality (30%) Interpretation (40%) Nominee(s) Song Title Record Label Artist 1. Didn’t We Almost Have It All Jed Madela ABS-CBN Film Productions, Inc. (Star Music) 2. Paano Ko Sasabihin Ettore “Thor” Dulay ABS-CBN Film Productions, Inc. (Star Music) / Cornerstone Music 3. I Believe Darren Espanto MCA Music Inc. 4. Milagro Jason Dy MCA Music Inc. 5. Firepower Bamboo Polyeast Records 6. Huwag Ka Nang Humirit James Reid Viva Records Corporation 1 By: 29th Awit Awards Organizing Committee Best Collaboration Vocal Quality (30%) Musicality (30%) Interpretation (40%) Nominee(s) Song Title Record Label Artist(s) 1. Somewhere Over The Rainbow Jed Madela duet with Regine ABS-CBN Film Productions, Inc. Velasquez-Alcasid (Star Music) 2. Unbound Marion feat. Alex Gonzaga, ABS-CBN Film Productions, Inc. Morissette & Kidwolf (Star Music) 3. Wag Ka Nang Umiyak Ebe Dancel with KZ Tandingan ABS-CBN Film Productions, Inc. (Star Music) 4. Hanap-Hanap James Reid & Nadine Lustre Viva Records Corporation 5. Triangulo Thyro & Yumi & Jeric Medina Viva Records Corporation Best Performance by a Group Recording Artists Vocal Quality (30%) Musicality (30%) Interpretation (40%) Nominee(s) Song Title Record Label Artist(s) 1. -
PARI Outreach Program KAT.PH Domain Name, Taken Down
December 2013 ANNUAL NEWSLETTER We make music for you… TABLE OF CONTENTS • Officers & Members Page 2 • POP-U Page 2 PARI Outreach Program (POP-U) @ MINT College • The Awit Awards Page 3 • OMB/Chinese General Hosp. POP-U: PARI KAT.PH domain MOA Page 4 • IPO News Page 4 Outreach Program name, taken down • Nationwide Sticker Campaign Page 5 POP-U or The PARI Outreach Program KickassTorrents under the domain • IIPA Recommendation Page 5 for Universities, Colleges, and Schools is name KAT.PH is the second most • Piracy-Free Bazaars & a program started by PARI Chairman popular torrent download site in the Atty. Marivic Benedicto. The main world next to Pirate Bay. The site Tiangges Page 5 objective of the program is to reach out provides torrent files and links to Page 6 • OMB News to young people and teach them to give facilitate illegal peer-to-peer file • PARI Photo Section Page 7 more value to music and help them sharing of copyrighted works. In • PARI Misc. Page 8 discover their musical side. The latest June 14, 2013, the domain name POP-U event was held at MINT College kat.ph was taken down by the local in McKinley Hill…(cont. page 2) domain name service provider dotPH through the orders of the OMB MOA with Chinese Intellectual Property Office General Hospital (IPO)…(cont. page 4) The Optical Media Board (OMB) under the leadership of Chairman Ronnie Ricketts entered into an agreement with Chinese General Hospital (CGH) with the help and coordination of Ambassador James Dy, Mr. Ramon Chuaying, and the hospital administrators and leaders… (cont. -
Trends in Audiovisual Markets: Regional Perspectives from the South
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COUNCIL FILE NO. /0 /0D7s:- COUNCIL DISTRICT NO
COUNCIL FILE NO. /0 /0D7s:- COUNCIL DISTRICT NO. 13 1 APPROVAL FOR ACCELERATED PROCESSING DIRECT TO CITY COUNCIL The attached Council File may be processed directly to Council pursuant to the procedure approved June 26, 1990, (CF 83-1075-S1) without being referred to the Public Works Committee because the action on the file checked below is deemed to be routine and/or administrative in nature: _ } A. Future Street Acceptance. _} B. Quitclaim of Easement(s). _} C. Dedication of Easement(s). _} D. Release of Restriction(s). _L} E. Request for Star in Hollywood Walk of Fame. _} F. Brass Plaque(s) in San Pedro Sport Walk. _} G. Resolution to Vacate or Ordinance submitted in response to Council action. _} H. Approval of plans/specifications submitted by Los Angeles County Flood Control District. APPROVAL/DISAPPROVAL FOR ACCELERATED PROCESSING: APPROVED DISAPPROVED* ~ Council Office of the District V2. Public Works Committee Chairperson *DISAPPROVED FILES WILL BE REFERRED TO THE PUBLIC WORKS COMMITTEE. Please return to Council Index Section, Room 615 City Hall City Clerk Processing: Date ____ notice and report copy mailed to interested parties advising of Council date for this item. Date ____ scheduled in Council. AFTER COUNCIL ACTION: Send copy of adopted report to the Real Estate Section, Development Services Division, Bureau of Engineering (Mail Stop No. 515) for further processing. ____J Other: PlEASE DO NOT DETACH THIS APPROVAl SHEET FROM THE COUNCil FILE ACCELERATED REVIEW PROCESS- E Office of the City Engineer Los Angeles California To the Honorable Council Of the City of Los Angeles JAN 12 201iJ Honorable Members: C.