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www lodibet.com Guitar Player Roger Mayer is a legend. His innovations include the Octavia, a groundbreaking fuzz box that doubled signal frequencies, a sound not obtainable previously. Mayer and his effect heavily shaped albums like Jimi Hendrix's and . And then there’s his work with the Isley Brothers, whose guitar sound was tonally linchpinned by Hendrix and Mayer’s effects. Those sounds influenced a young gun named Junior Marvin, who Mayer worked with in the mid 70s and who would be drafted into Bob Marley and the Wailers at a time when Marley wanted his group to evolve from what Mayer describes as a "raggedy-assed" musicians to proper reggae icons. Mayer started from square one, tearing down Marley's rig and ensuring all involved in his midst were quite literally playing in tune. The result was what Mayer likens to perfection. "When everything else is perfect, recording a song is pretty simple," he tells . “There’s nothing special about that for me," he says. "Anybody could walk into a recording studio, hit record, and if the other things are perfect, it's gonna sound good." It's hard to argue with that, considering Mayer's work on Marley's iconic 1975 record . "I did everything I could in the studio to talk to Bob and Junior about how they could dial in what they heard in the brains," he says. Mayer did the job. catapulted the Wailers from a poorly produced group from the beaches of Jamaica to a powerhouse. The result was the album's title track reaching number one in Jamaica, number 14 in Germany, and the top 20 in the U.K. All the latest guitar news, interviews, lessons, reviews, deals and more, direct to your inbox! laid-back vibe meshed perfectly with Marley and Marvin's inspired guitar playing. As a result, tracks like "Three Little Birds," "Jammin'" and "Waiting in Vain" became Marley classics — and FM radio staples. Mayer is aware of all of this — and he'll be the first to tell you that he had a feeling about from the jump, meaning greatness wasn't just intended but inherent. "That record is very well thought of," he beams. "I knew what a hit record sounded like. We had all the puzzle pieces come into place. Like with Hendrix and the Isley Brothers, I'd helped, but it wasn't a mistake that it sounded that good." "I knew what a hit record sounded like. We had all the puzzle pieces come into place. Like with Hendrix and the Isley Brothers, I'd helped, but it wasn't a mistake that it sounded that good." I had a relationship with Junior Marvin before Junior signed on to work with Bob. We'd finished recording some original material in England in December 1976, so we'd spend a lot of time together while recording, alternating between New York and London. With Junior, we'd recorded at Music Mountain in Jamaica, at Electric Lady in New York and Island Studios in London, so yeah, I was aware of Bob Marley through all of that. I'd come to see him a few times, and I knew Chris Blackwell [ ]. Junior knew Chris too. But it wasn't until after we finished the record with Junior, and he signed on with Bob Marley and the Wailers, that I got to work with Bob. Junior was recruited into Bob's band to provide the rock and roll aspect to the Wailers, which they were lacking. Before the recordings started, Bob was aware that he needed to change direction so that the music had more international appeal. They came to be because, obviously, they'd heard the work I was doing with the Isley Brothers, Rick James, Parliament Funkadelic, and all those bands that had crossed over into the mainstream market. When I went to America with Jimi Hendrix back in '68 and then worked with Stevie Wonder, these were artists who had ties to Motown and were given free rein. To paint a picture, the idea was that Black artists in the '70s had a very difficult time in America as far as getting recognition because the music charts were more into white rock 'n' roll than R&B and soul. It was spread apart. So after Junior joined the Wailers, it helped because they became a bit more rock 'n' roll. "Black artists in the '70s had a very difficult time in America because the music charts were more into white rock and roll. After Junior joined, it helped because they became a bit more rock 'n' roll. After Junior joined, I sent him some of what they requested, which was some new equipment. I went and bought some guitars for Junior in New York and sent them to him after I'd modified them. That included some of the effects we'd used with Ernie Isley and Jimi Hendrix. And then, of course, everybody started to sit up and say, "Yeah, well, who is this new guitar player that Bob Marley's changed to?" Junior was a bit more rock 'n' roll and was a complete departure from Bob's previous records. Everything was going very well. I got invited down to Jamaica to meet Bob just before the One Love concert, and that's when I first met him. He was a very charming guy. I asked him, "What exactly do you want me to do? How can I help you?" Bob said, "I want to sound more international." That was the right answer, mate. I said, "For you to go forward in music and take a step forward — especially in record sales and international recognition — you have to have a record that sounds great.” I told him, “It has to stand up to the quality of what's around." He couldn't just come from an island and not have the same technological advantages that everybody else had. If he did that, his record would have sounded a big amateurish. Bob's early albums were kind of tolerated because they came from the islands, you know what I mean? People didn't expect the records to have the same sonic qualities that all the other top artists had, or some of the other artists I was working with. So, yeah... that's how I got roped into it. [ ] The first thing I did after meeting Bob was completely set up all the guitars for him. I'd listened to the band live and said, "The whole band's completely out of tune. For us to go forward, the first thing to do is make the band solid, if not perfect." In reggae, that's very important, as it is with any music oriented by bass. The bass and drum sounds had to be perfect, or else you lose the magical quality of the beat. The bass guitars had suffered being in Jamaica and needed a lot of work, so we started with that. I wanted to fix that up to give off a really authentic, top-quality sound. I moved on to Bob's guitars because Junior already had a guitar that I'd previously modified and had been used in concert and in the studio. I went through all of Bob's guitars, tuned them up, and rebuilt the whole guitar. Every guitar that had been down in Jamaica for years had to be completely pulled apart and rebuilt because of what the humidity in the tropics would do to the electrics in the guitar. Once I made sure the band was mechanically sound, and actually in tune, and sounded perfect with all the harmonics resonating, that's when we could really get started. That was the beginning of it. “That's why every track we recorded with Jimi Hendrix sounds so accessible. It's not just a case of buying a pedal, plugging it in, and playing. It's more complicated than that.” My job was working with Junior to get the right guitar sounds and with Bob. Once Bob's guitar was perfectly in tune, his approach to the song became different because of the way he played. The feeling, solos, and overall feeling of the record became different. This might sound mundane, but you can only record what's there. In my case, the actual job became making good sounds, and after that, it was recording the sound. I didn't have to do anything. The bass and guitar sounds were perfect. Bob set the people up to play the vibe, and the performances were amazing—much better than before because they were all playing in tune. They were all very highly attuned to the vibrations and the perfection of it all. So, while putting together the tracks, Junior and I would go into the studio and discuss what he wanted to do, for example, "Waiting in Vain" or "Three Little Birds." Those tracks have my touch on them with the various guitar tones, and we worked together to select the perfect tones for each track. That's one of the secrets! You have the have the ability, and in my case, technical ability, to change the tone, and make it fit the track. That's why every track we recorded with Jimi Hendrix sounds so accessible. It's not just a case of buying a pedal, plugging it in, and playing. It's more complicated than that. It's having the knowledge of being in the studio and using recording equipment and consoles to know exactly what sound you have to produce in the studio to make it come out well on record. You have to have a whole knowledge of the whole process of recording. It's about knowing where to put microphones and how they should sound in the studio. You had to really, really know how with some of these bands back then, you know, with how to actually tailor the sound so that they can record a song. Yeah, but at the same time, I'd been in the studio many times before when lots of famous records were made. I wasn't new to what a hit record sounded like. I had a good idea of what it should sound like, so, yeah, , after the tracks were put together, sounded really good. But the magic of isn't just that it's a really good collection of songs; there's more to it than that. Remember: A lot of the songs on have been recorded before. They weren't new. There were previous incarnations of "Three Little Birds," from what I remember. The difference, I think, with Bob and was the actual sound of that record. It's perfect. It sounds great. The sound of the music, and the beat, just the whole thing, makes that record sound international. It doesn't sound like a raggedy bunch of Jamaican musicians. It's interesting and culturally different, but before that, they weren't producing the international quality of music that sounded like that. I've been involved with many records, but I've been involved with very involved in three or four, like, really records, I think. is great. The sound of it is just unbelievable. But these things don't happen by accident, right? It doesn't happen by mistake. The people involved in that record weren't just fortuitous; my sound, equipment, and electronics are on so many hit records. That's not me boasting; it's just the truth. But Bob and Junior were a pleasure to work with and making that record didn't happen by mistake. It's like they say: you could get a well, a well-nourished orangutan with a pencil and a piece of white paper is not going to make a great picture. It was all the right pieces at the right time. It doesn't happen otherwise. Andrew Daly is an iced-coffee-addicted, oddball Telecaster-playing, alfredo pasta-loving journalist from Long Island, NY, who, in addition to being a contributing writer for Guitar World, scribes for Rock Candy, Bass Player, Total Guitar, and Classic Rock History. Andrew has interviewed favorites like Ace Frehley, Johnny Marr, Vito Bratta, Bruce Kulick, Joe Perry, Brad Whitford, Rich Robinson, and Paul Stanley, while his all-time favorite (rhythm player), Keith Richards, continues to elude him.

HE the Minister of Communications and Information Technology Mohammed bin Ali bin Mohammed al-Mannai has hailed the anniversary of the founding of the State of Qatar by Sheikh Jassim bin Mohammed bin Thani as an occasion that conveys patriotic meanings. In remarks to Qatar News Agency (QNA), HE al-Mannai said the anniversary represents a pivotal moment in Qatar’s history when Sheikh Jassim bin Mohammed bin Thani showed a legacy of prudence and leadership that led to the establishment of a modern independent and unified state. Sheikh Jassim bin Mohammed bin Thani’s vision was the foundation for Qatar’s multi-sector renaissance, HE al-Mannai said, highlighting that Qatari people’s pride on this historic occasion is the result of their ancestors’ sacrifices for a sovereign state. This occasion reminds Qataris of a long history of hard work and dedication to build a single national identity through which all members of the Qatari people unite for a prosperous future. As marking this occasion prompts Qataris to reflect on Qatar’s achievements, it also boosts the need to preserve their national heritage and the values set by the Founder, he added. HE al-Mannai hailed the National Day as an opportunity for all nationals and residents to renew their pledge to the country and its wise leadership to press on accomplishments that elevate Qatar’s profile. Turning to the Ministry of Communications and Information Technology (MCIT)’s achievements, al-Mannai highlighted the ministry’s future digital vision, primarily the launch of the Digital Agenda 2030 — a six-pillar strategy striving to foster public and private sectors to build a thriving digital economy aligning with the Third National Development Strategy (NDS-3) and Qatar National Vision 2030. In this respect, he spoke about the Fanar project — an Arab AI Project in collaboration with local and Arab agencies. A significant milestone underscoring Qatar’s dedication to elevating the Arabic language and culture in the AI era, Fanar is expected to generate accurate Arabic texts through original texts amounting to approximately 300bn words. Also among the MCIT’s accomplishments were the 2024 launch of the Qatar Digital Academy and TASMU project. The Qatar Digital Academy — an expansion of the Qatar Digital Government Training Program keeps a keen eye for enhancing digital competencies in Qatar, envisioning training 1,000 state employees annually. With a focus on many digital skills such as AI, cybersecurity and the Internet of Things, the academy also grants 250 employees international certificates annually to enhance their qualifications and keep pace with technological developments. The academy’s specialised training programmes aligning the needs of government institutions aim to build a qualified workforce that supports digital transformation in Qatar and overcome the future challenges. Tasmu — a project catalysing Qatars ICT ecosystem — unites global innovators with the needs of the local market to fuel Qatar’s digital transformation. The programme received 640 applications from 74 countries following a thrilling 2023 cycle, which garnered $36mn funding and over $100mn sales. HE the Minister also spoke about SafeSpace, a project set to be launched in 2025 with the aim of elevating awareness about digital safety. Related Story National Day reflects Qatari identityElectrical Contractors Congratulate Representative Lori Chavez-DeRemer on Nomination as U.S. Secretary of Labor

LAS VEGAS — Southern California opened its season at Allegiant Stadium with a victory over LSU that set up the Trojans for early contention for the College Football Playoff, but instead will end the year where they started. Texas A&M also had high hopes for a playoff spot, and the Aggies went even deeper into the season before that dream ended with three defeats in their final four games. Now both teams face each other in Friday night’s Las Vegas Bowl, not the setting either side envisioned but a chance for both to finish the season on a positive note. “We’re all still competitors at heart,” USC coach Lincoln Riley said. “Any chance you get to come play a really good program, like we’re playing a really good team, you’ve got to relish that opportunity.” The Trojans (6-6) will try to avoid their first losing season since 2021 when they went 4-8 and coach Clay Helton was fired. Riley took over the program and immediately went 11-3 followed by an 8-5 record last season. People are also reading... USC appeared to be on the way back to prominence after opening this season with a 27-20 victory over then-No. 13 LSU. But the Trojans lost five games in which they led in the fourth quarter, which is why they’re back in Las Vegas and not potentially preparing for a playoff game. “You’ve just got to stay consistent all the way through and locked in the small things,” USC safety Bryson Shaw said of the lessons learned from the close calls. “We learned a lot this year. It’s been great for us in bowl preparation.” Texas A&M (8-4) also was coming off a victory over LSU when it looked as if the Aggies might even be playing for a national title. They were 7-1 after the 38-23 victory, and at 5-0 the only undefeated team in the Southeastern Conference. But then came the season-ending slide. “It obviously hurt,” Texas A&M linebacker Taurean York said. “Obviously, we wanted to be in the playoffs, but it’s not how our story ended this year. So, hopefully, it ends the right way with a win over USC.” The Aggies will be without defensive ends Nic Scourton and Shemar Stewart, defensive tackle Shemar Turner and backup wide receiver Moose Muhammad III, who opted out to prepare for the NFL draft. “I think it was the right decision for each one of them, and the rest of our roster is here, so we’re excited,” Aggies coach Mike Elko said. “I think we’re in a really good place, and I’m happy with where we are moving forward.” Homecoming for Maiava USC sophomore quarterback Jayden Maiava was a high school star in Las Vegas, and last season as UNLV’s starting quarterback, he played at Allegiant Stadium. Then he left for USC, though initially as the backup to Miller Moss before claiming the starting job with three games left. Maiava went 2-1, passing for 840 yards with seven touchdowns and three interceptions. “I’m really bullish on his future,” Riley said. “He’s a talented kid. I think he’s going to continue to get better and better.” QB change Part II Similar to the Trojans, Texas A&M also made an in-season quarterback change. Redshirt freshman dual threat Marcel Reed took over as the full-time starter after he replaced Conner Weigman in the victory over LSU. He has started seven games and has 1,572 yards and eight 12 touchdowns passing and 501 yards and six TDs rushing. “I think they’ve got to respect him on that run side,” Texas A&M wide receiver Noah Thomas said. “They might throw a couple of more people in the box, so I think that will open me up, too.” Be the first to know Get local news delivered to your inbox!Breakthrough in treatment approach showing promise in the fight against glioblastoma December 16, 2024 Mayo Clinic Medical researchers have announced the results of an innovative treatment approach that may offer improvement in overall survival in older patients with newly diagnosed glioblastoma while maintaining quality of life. Glioblastoma is the most lethal type of primary brain cancer due to its aggressive nature and its treatment-resistant characteristics. It is the most common form of primary brain cancer. Facebook Twitter Pinterest LinkedIN Email Mayo Clinic announces the results of an innovative treatment approach that may offer improvement in overall survival in older patients with newly diagnosed glioblastoma while maintaining quality of life. Glioblastoma is the most lethal type of primary brain cancer due to its aggressive nature and its treatment-resistant characteristics. It is the most common form of primary brain cancer. Each year an estimated 14,500 people in the U.S. are diagnosed with the disease. Results of Mayo Clinic's phase 2, single-arm study are published in The Lancet Oncology . Sujay Vora, M.D., radiation oncologist at Mayo Clinic, led a team of researchers investigating the use of short-course hypofractionated proton beam therapy incorporating advanced imaging techniques in patients over the age of 65 with newly diagnosed World Health Organization (WHO) grade 4, malignant glioblastoma. Results showed that 56% of participants were alive after 12 months and the median overall survival was 13.1 months." As compared to prior phase 3 studies in an older population having a median survival of only six to nine months, these results are promising," says Dr. Vora. "In some cases, patients with tumors that have favorable genetics lived even longer, with a median survival of 22 months. We are very excited about these results." Glioblastoma is among the most challenging cancers to treat. The disease invades healthy brain tissue with hairlike tentacles, making surgical removal intricate. Surgeons must carefully balance removing as much of the tumor as possible while avoiding harm to critical areas of the brain responsible for essential functions such as movement and speech. Additionally, the tumor's cellular composition and its ability to evade therapies further challenge treatment efforts. Standard radiation therapy is commonly used to treat glioblastoma and can be effective. However, a limitation is that it also exposes healthy brain tissue to radiation, potentially causing collateral, unintended damage. For the Mayo Clinic study, investigators used one of the most innovative and advanced forms of radiation treatment, called proton beam therapy. The cutting-edge, nonsurgical form of radiation therapy destroys cancer cells with targeted precision while minimizing side effects to surrounding healthy tissue. Mayo investigators mapped the target area in the patient's brain by combining the advanced imaging technologies, including 18 F-DOPA PET and contrast-enhanced MRI. "Combining advanced imaging allowed us to determine the most metabolically active, or aggressive, regions of the glioblastoma," says Dr. Vora. Treatment was completed in one to two weeks instead of the traditional three to six weeks. "The advanced imaging along with the proton beam therapy allowed us to be more focused with radiation and protect surrounding healthy brain tissue from the effects of radiation. We were able to see that patients tolerated the treatments well and lived longer than we expected." According to Dr. Vora, the study at Mayo Clinic is the first clinical trial of its kind investigating the use of short-course hypofractionated proton beam therapy incorporating advanced imaging technology, including 18 F-DOPA PET and contrast-enhanced MRI targeting, for patients 65 and older with newly diagnosed glioblastoma. The study included patients from Arizona and Minnesota. One of the study participants, Richard Casper, lived nearly two years longer than his prognosis. "I feel great. If someone didn't tell me I had the glioblastoma, I wouldn't even know it," reported Casper after undergoing treatment. He succumbed to the disease in 2023. "We miss our dad dearly," says his daughter, Susan Casper. "We will forever be grateful for the extra time we had with our father. The time gave us a chance to make memories that will last us a lifetime. It was also important to my father to participate in this study in hopes of helping others fight glioblastoma." A larger, randomized clinical trial is now underway at Mayo Clinic. One of the study participants is Nadya El-Afandi, a wife and mother of four, who lives in St. Paul, Minnesota. She was diagnosed with glioblastoma in 2022. El-Afandi is now 15 months post-treatment with no sign of glioblastoma. "I feel wonderful," says El-Afandi. "I've had my fourth MRI, and we're not seeing any return of the glioblastoma." El-Afandi is back to her regular activities and just returned from a trip to Hawaii, where she spent time snorkeling and hiking. "We are living on the edge of medical miracles, and we are riding that tide. There's no cure for glioblastoma yet, but I've been able to take advantage of this medical opportunity, and it has given me a quality of life that is just outstanding," adds El-Afandi. While El-Afandi's results are encouraging, William Breen, M.D., radiation oncologist and principal investigator of the current study says it is too early to draw any conclusions about the safety and efficacy of the treatment until the study is complete. "Our goal is to transform the way we treat glioblastoma using shorter courses of radiation to minimize the burden on patients and their families and help them complete safe and effective treatment in a shorter amount of time." The clinical trial, known as SAGA, or stereotactic ablative radiation treatment for glioblastoma, includes patients from Arizona, Florida and Minnesota. "We are now adding another component that builds upon Dr. Vora's work to help us best visualize the tumor," says Dr. Breen. Meanwhile El-Afandi is focusing on living her life to the fullest. "I'm so grateful," says El-Afandi. "Every day is the best day, and I'm going to enjoy every minute of it." The study was funded by Mayo Clinic Marley Endowment Funds and the Lawrence W. and Marilyn W. Matteson Fund in Cancer Research. Story Source: Materials provided by Mayo Clinic . Original written by Marty Velasco Hames. Note: Content may be edited for style and length. Journal Reference : Cite This Page :

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Asia’s middle distillates market activity were slightly muted, with price fluctutations also minimal, though January refiner sales were ongoing. January discussions remained underway for some northeast Asia spot cargoes, with traders saying that buying interest remains mostly at discounted levels. More refiner spot sales could emerge in the next few trading sessions from northeast Asia, though trading activity is still likely to slow ahead of the holiday season. India refiners were the main sellers in action today, with both MRPL and Nayara Energy offering their January cargoes via sale tenders that close the next two days. Refining margins closed the trading session little changed at two-week high levels, slightly above $16 a barrel. Cash differentials dipped 11 cents from the previous session to 42 cents a barrel, a reflection of the narrower market backwardation and roll over in assessment months. Regrade for January widened back to a discount of 60 cents a barrel. – No deals for both markets – China’s refinery throughput in November recorded its first rise in eight months, official data showed on Monday, as Beijing’s stimulus underpinned manufacturing activities and oil demand. – China’s industrial output growth quickened slightly in November, while retail sales disappointed, keeping pressure on Beijing to ramp up stimulus for a fragile economy as it braces for more U.S. trade tariffs under a second Trump administration. – Fires that broke out in a number of reservoirs in Libya’s Zawiya refinery have been brought under control, Khaled Abulgasem Gulam, spokesperson for the country’s National Oil Corporation (NOC), said in a statement on Sunday. – Singapore’s ChemOne Group has delayed the start of its Pengerang Energy Complex (PEC) to the fourth quarter of 2028, with construction set to begin by mid-2025, it said on Monday, after securing more financing for the project. – China’s refined oil consumption peaked in 2023 at 399 million metric tons (7.98 million barrels per day) and is expected to fall 1.3% to 394 million tons in 2024, CNPC Economics & Technology Research Institute said on Friday. – Two Russian tankers that spilled oil into the Kerch Strait after sustaining serious damage during a heavy storm on Sunday were carrying 9,200 metric tons (62,000 barrels) of oil products at the time, the state TASS news agency reported. Source: Reuters (Reporting by Trixie Yap; Editing by Mohammed Safi Shamsi)

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Warner Music Group ( NASDAQ:WMG – Get Free Report ) and Cedar Fair ( NYSE:FUN – Get Free Report ) are both consumer discretionary companies, but which is the better stock? We will contrast the two companies based on the strength of their institutional ownership, dividends, risk, analyst recommendations, profitability, valuation and earnings. Profitability This table compares Warner Music Group and Cedar Fair’s net margins, return on equity and return on assets. Valuation and Earnings This table compares Warner Music Group and Cedar Fair”s gross revenue, earnings per share (EPS) and valuation. Dividends Warner Music Group pays an annual dividend of $0.72 per share and has a dividend yield of 2.3%. Cedar Fair pays an annual dividend of $0.60 per share and has a dividend yield of 1.2%. Warner Music Group pays out 86.7% of its earnings in the form of a dividend, suggesting it may not have sufficient earnings to cover its dividend payment in the future. Cedar Fair pays out -93.8% of its earnings in the form of a dividend. Volatility & Risk Warner Music Group has a beta of 1.35, indicating that its share price is 35% more volatile than the S&P 500. Comparatively, Cedar Fair has a beta of 1.58, indicating that its share price is 58% more volatile than the S&P 500. Institutional and Insider Ownership 96.9% of Warner Music Group shares are owned by institutional investors. Comparatively, 64.7% of Cedar Fair shares are owned by institutional investors. 73.3% of Warner Music Group shares are owned by company insiders. Comparatively, 1.8% of Cedar Fair shares are owned by company insiders. Strong institutional ownership is an indication that hedge funds, endowments and large money managers believe a stock is poised for long-term growth. Analyst Recommendations This is a breakdown of current ratings and recommmendations for Warner Music Group and Cedar Fair, as reported by MarketBeat. Warner Music Group presently has a consensus target price of $35.67, indicating a potential upside of 13.41%. Cedar Fair has a consensus target price of $56.07, indicating a potential upside of 14.24%. Given Cedar Fair’s stronger consensus rating and higher possible upside, analysts plainly believe Cedar Fair is more favorable than Warner Music Group. Summary Warner Music Group beats Cedar Fair on 9 of the 16 factors compared between the two stocks. About Warner Music Group ( Get Free Report ) Warner Music Group Corp. operates as a music entertainment company in the United States, the United Kingdom, Germany, and internationally. It operates through Recorded Music and Music Publishing segments. The Recorded Music segment is involved in the discovery and development of recording artists, as well as related marketing, promotion, distribution, sale, and licensing of music created by such recording artists; markets its music catalog through compilations and reissuances of previously released music and video titles, as well as previously unreleased materials; and conducts its operation primarily through a collection of record labels, such as Warner Records and Atlantic Records, as well as Asylum, Big Beat, Canvasback, East West, Erato, FFRR, Fueled by Ramen, Nonesuch, Parlophone, Reprise, Roadrunner, Sire, Spinnin’ Records, Warner Classics, and Warner Music Nashville. This segment markets, distributes, and sells music and video products to retailers and wholesale distributors; independent labels to retail and wholesale distributors; and various distribution centers and ventures, as well as retail outlets, online physical retailers, streaming services, and download services. The Music Publishing segment owns and acquires rights to approximately one million musical compositions comprising pop hits, American standards, folk songs, and motion picture and theatrical compositions. Its catalog includes approximately 150,000 songwriters and composers; and various genres, including pop, rock, jazz, classical, country, R&B, hip-hop, rap, reggae, Latin, folk, blues, symphonic, soul, Broadway, electronic, alternative, and gospel. This segment also administers the music and soundtracks of various third-party television and film producers and studios. The company was founded in 1929 and is headquartered in New York, New York. About Cedar Fair ( Get Free Report ) Cedar Fair, L.P. owns and operates amusement and water parks, as well as complementary resort facilities. Its amusement parks include Cedar Point located on Lake Erie between Cleveland and Toledo in Sandusky, Ohio; Knott's Berry Farm near Los Angeles, California; Canada's Wonderland near Toronto, Ontario; Kings Island near Cincinnati, Ohio; Carowinds in Charlotte, North Carolina; Kings Dominion situated near Richmond, Virginia; California's Great America located in Santa Clara, California; Dorney Park in Pennsylvania; Worlds of Fun located in Kansas City, Missouri; Valleyfair situated near Minneapolis/St. Paul, Minnesota; Michigan's Adventure situated near Muskegon, Michigan; Schlitterbahn Waterpark & Resort New Braunfels in New Braunfels, Texas; and Schlitterbahn Waterpark Galveston in Galveston, Texas. The company also owns and operates the Castaway Bay Indoor Waterpark Resort, Hotel Breakers, Cedar Point's Express Hotel, and Sawmill Creek Resort. Cedar Fair, L.P. was founded in 1983 and is based in Sandusky, Ohio. Receive News & Ratings for Warner Music Group Daily - Enter your email address below to receive a concise daily summary of the latest news and analysts' ratings for Warner Music Group and related companies with MarketBeat.com's FREE daily email newsletter .Bears-Seahawks inactives report: DL Gervon Dexter returns from knee injury