DE
DefZone.Net

Kien thuc cong nghe & giai tri

Wiki Article

Talk:Michael L. Nash

Nguồn dữ liệu từ Wikipedia, hiển thị bởi DefZone.Net

Xem trên WikipediaBài ngẫu nhiên khác
[edit]
Latest comment: 8 years ago1 comment1 person in discussion

Hello fellow Wikipedians,

I have just modified 2 external links on Michael L. Nash. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

This message was posted before February 2018. After February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than regular verification using the archive tool instructions below. Editors have permission to delete these "External links modified" talk page sections if they want to de-clutter talk pages, but see the RfC before doing mass systematic removals. This message is updated dynamically through the template {{source check}} (last update: 5 June 2024).

  • If you have discovered URLs which were erroneously considered dead by the bot, you can report them with this tool.
  • If you found an error with any archives or the URLs themselves, you can fix them with this tool.

Cheers.—InternetArchiveBot (Report bug) 02:43, 28 January 2018 (UTC)Reply

Updates Requests

[edit]
Latest comment: 4 months ago2 comments2 people in discussion

Hi fellow Wikipedians,

I have disclosed my WP:COI on my talk page and would appreciate your assistance in incorporating these updates to ensure the page remains current and accurate.

1.- Add: As Executive Vice President of Digital Strategy at Universal Music Group, Nash oversees the company's global digital business development and platform partnerships. In this capacity, he led negotiations for licensing agreements with major streaming services, including Spotify,[1] Apple Music,[2] Amazon,[3][4][5] and Tencent Music,[6][7] as part of the organization's shift toward digital-first distribution models.

  • Placement: Universal Music Group section, second paragraph
  • Rationale: This addition adheres to WP:BIO and WP:NPOV by providing a factual, neutral account of the subject’s core professional responsibilities. It ensures the entry meets WP:DUE requirements for completeness by contextualizing his role in the industry's transition to digital streaming.

2- Add: In response to the development of generative AI, Nash oversaw the integration of intellectual property protections into Universal Music Group's licensing renewals with TikTok[8][9][10] and YouTube.[11][12][13] These agreements established frameworks for artist attribution and compensation regarding the use of AI-generated content on those platforms.

  • Placement: Universal Music Group, last sentence
  • Rationale: This addition provides a neutral, factual account of Nash's role in recent high-profile licensing negotiations, which is a central part of his professional record. By documenting these developments without using promotional language, it follows WP:NPOV and ensures the article remains comprehensive under WP:DUE.

3.- Add: In his capacity as head of Digital Strategy, Nash managed Universal Music Group’s partnerships with artificial intelligence and technology companies. This includes overseeing collaborations with firms such as Nvidia,[14][15] Stability AI,[16][17] Splice,[18] Klay,[19][20] and Udio[21] to integrate generative AI tools into the company’s digital ecosystem.

  • Placement: After previous entry
  • Rationale: This addition provides essential context regarding the subject’s current professional focus on emerging technology, adhering to WP:DUE by reflecting significant industry developments. It maintains a neutral, factual tone in compliance with WP:NPOV.

4.- Update (current entry): Nash was listed on Billboard’s "Power 100" in 2016, 2017, 2018, and 2019.

  • Proposed change: From 2016 to 2026, Nash has been named on every Billboard Power 100 list.[22][23][24][25][26][27][28][29]
  • Placement: Recognition, first sentence
  • Rationale: This update keeps the page current by reflecting a significant, decade-long milestone in the subject’s career, which is supported by WP:V. It uses neutral, factual reporting to accurately document his sustained professional standing through 2026.

Thank you! TheBlueOwl (talk) 02:08, 11 May 2026 (UTC)Reply

TheBlueOwl,
Yes I made a few tweaks to your proposed entries to make them more concise and neutral.
It might be necessary to keep the subject's work in UMG in chronological order. Thanks! IBWikiFellow (talk) 23:15, 20 May 2026 (UTC)Reply

References

  1. ^ Peoples, Glenn (March 7, 2025). "UMG Is 'In Conversations' With Multiple Streamers on Super-Premium Tiers. That's Good News for Everybody". Billboard. Retrieved May 5, 2026.
  2. ^ Vlessing, Etan (October 27, 2022). "Universal Music Group Digital Chief Touts Apple Music Price Hike, Spotify Subscriber Growth". Hollywood Reporter. Retrieved May 5, 2026.
  3. ^ Stassen, Murray (January 27, 2022). "Universal expands agreements with Twitch and Amazon Music". Music Business Worldwide. Retrieved May 5, 2026.
  4. ^ Robinson, Kristin (January 28, 2022). "UMG Expands Relationship With Twitch and Amazon Music". Billboard. Retrieved May 5, 2026.
  5. ^ Ingham, Tim (October 2, 2020). "Amazon Music partners with Universal, Warner to exclusively offer streaming albums in 'better than CD quality' Ultra HD". Music Business Worldwide. Retrieved May 5, 2026.
  6. ^ Sutherland, Mark (May 16, 2017). "Universal signs Tencent deal to open up Chinese market, launches Abbey Road China". Music Week. Retrieved May 5, 2026.
  7. ^ Ingham, Tim (May 16, 2017). "Universal signs major licensing deal with Tencent in China". Music Business Worldwide. Retrieved May 5, 2026.
  8. ^ Robinson, Kristin (January 29, 2026). "UMG's Chief Digital Officer Talks Udio Deal, Suno Lawsuit — And What Really Happened With TikTok in 2024". Billboard. Retrieved May 5, 2026.
  9. ^ Peoples, Glenn (May 3, 2024). "The New Universal Music Group-TikTok Deal Explained". Billboard. Retrieved May 5, 2026.
  10. ^ Stassen, Murray (February 8, 2021). "TikTok and Universal Music Group sign global licensing deal". Music Business Worldwide. Retrieved May 5, 2026.
  11. ^ Stassen, Murray (October 30, 2025). "UMG has struck a new YouTube deal that includes 'guardrails' around AI… and 3 other things Sir Lucian Grainge said on Universal's Q3 earnings call". Music Business Worldwide. Retrieved May 5, 2026.
  12. ^ Edwards, Gavin (June 19, 2019). "That Glitchy Music Video on YouTube? It's Getting an Upgrade". New York Times. Retrieved May 5, 2026.
  13. ^ "YouTube Music and Universal Music Group change the way you see music". YouTube Blog. June 19, 2019. Retrieved May 5, 2026.
  14. ^ Rys, Dan (January 6, 2026). "Universal Partners With NVIDIA AI on Music Discovery, Fan Engagement & Creation Tools". Billboard. Retrieved May 5, 2026.
  15. ^ Stassen, Murray (January 6, 2026). "UMG's latest major AI partnership arrives via tech giant NVIDIA, with promise of 'antidote to generic AI slop'". Music Business Worldwide. Retrieved May 5, 2026.
  16. ^ Aswad, Jem (October 30, 2025). "Universal Music Settles Udio Lawsuit, Partners With Stability AI to Develop 'Next-Generation Music Creation Tools'". Variety. Retrieved May 5, 2026.
  17. ^ Dalugdug, Mandy (October 30, 2025). "UMG strikes strategic alliance with Stability AI to develop 'next-generation' AI music-making tools". Music Business Worldwide. Retrieved May 5, 2026.
  18. ^ Stassen, Murray (December 19, 2025). "UMG and Splice team up to collaborate on 'next generation' AI music creation tools". Music Business Worldwide. Retrieved May 5, 2026.
  19. ^ Robinson, Kristin (January 29, 2026). "UMG's Chief Digital Officer Talks Udio Deal, Suno Lawsuit — And What Really Happened With TikTok in 2024". Billboard. Retrieved May 5, 2026.
  20. ^ "Universal Music Group partners with KLAY to develop ethical Artificial Intelligence Technology". El Economista (in Spanish). January 28, 2026. Retrieved May 5, 2026.
  21. ^ Hiatt, Brian (October 31, 2025). "Why the Biggest Record Company Is Teaming Up With the AI-Music Company It Was Just Suing". Rolling Stone. Retrieved May 5, 2026.
  22. ^ "Billboard's Inaugural Digital Power Players List Revealed". Billboard. Retrieved 7 November 2016.
  23. ^ "Billboard Change Agents: Leaders Stepping Up In A Year of Turmoil". Billboard. January 28, 2021. Retrieved May 5, 2026.
  24. ^ "The 2022 Billboard Power List Revealed". Billboard. January 26, 2022. Retrieved May 5, 2026.
  25. ^ "Billboard 2023 Power 100 List". Billboard. Retrieved May 5, 2026.
  26. ^ "Billboard Power List 100". Billboard. Retrieved May 5, 2026.
  27. ^ "Billboard 2024 Power 100 List Revealed". Billboard. Retrieved May 5, 2026.
  28. ^ "Billboard 2025 Power 100 List". Billboard. Retrieved May 5, 2026.
  29. ^ "Billboard 2026 Power 100 List". Billboard. Retrieved May 5, 2026.

COI: Professional background

[edit]
Latest comment: 3 months ago4 comments2 people in discussion

Hi everyone, I have disclosed my WP:COI on my talk page and would appreciate your assistance in incorporating these updates to ensure the page provides well-supported, relevant details.

1. Add: Nash joined Warner Music Group (WMG) in 2000, serving in various senior management roles. In June 2008, he was named Executive Vice President of Digital Strategy and Business Development, where he oversaw global digital operations until leaving the company in 2011.[1][2]

  • Placement: WMG: First paragraph
  • Rationale: The basic factual details of this corporate history are verified by independent secondary coverage in Variety, alongside supplementary corporate history from the Universal Music Group investor relations site (per WP:ABOUTSELF).

1. Add:' Nash's career includes working in digital strategy at Warner Music Group from 2000 to 2011, following executive roles within the digital media sector.[3]

  • Placement: Lead section, second sentence
  • Rationale: Expanding the lead section to better summarize the subject's career trajectory in accordance with WP:LEAD. The addition establishes a balanced overview of his professional background. All claims are neutral (WP:NPOV) and verifiable.

2. Add: In 2023, Michael Nash led a Universal Music Group (UMG) partnership with Deezer to launch an “artist-centric” streaming model. The initiative aimed to reward active user engagement and artist-fan relationships by increasing earnings for designated “professional artists” while de-emphasizing “noise audio.”[4][5][6]

  • Placement: Universal Music Group, Third paragraph, second sentence
  • Rationale: This addition documents a career milestone regarding the UMG–Deezer streaming initiative led by the subject, expanding upon his documented history in digital streaming policy. The proposed entry is well-supported by independent, third-party sources WP:V and framed neutral per WP:NPOV.

3. Add: Nash oversaw initiatives to expand Universal Music Group (UMG) into the health and wellness sectors. In 2021, the company partnered with digital therapeutics firm MedRhythms to establish a music licensing framework for their prescription-based neurologic treatment platform. Later, in 2025, UMG teamed up with Apple Music to launch the "Sound Therapy" audio collection for relaxation and focus. Nash described the programs as structural shifts from traditional streaming models aimed at utilizing music as a therapeutic tool.[7][8]

  • Placement: Universal Music Group, after third paragraph
  • Rationale: The proposed addition details the subject's leadership in UMG’s health, wellness, and functional audio partnerships verified by third-party industry coverage WP:V and written neutrally in compliance with WP:NPOV.

4. Add: In 2005, as Senior Vice President, Digital Strategy and Business Development, Nash coordinated WMG’s partnership with Verizon Wireless for the launch of its V Cast service. The agreement made WMG’s music video catalog available for download on mobile devices, marking one of the early instances of mobile video distribution in the United States.

  • Placement: Warner Music Group, after second paragraph
  • Rationale: The addition details the subject's executive role at Warner Music Group regarding early mobile and wireless distribution partnerships, verified by third-party industry coverage WP:V and written neutrally in compliance with WP:NPOV.[9][10]

Thank you! TheBlueOwl (talk) 13:26, 26 May 2026 (UTC)Reply

TheBlueOwl, before touching the lead, can you verify that his 2000–2011 tenure at WMG is already fully detailed and sourced in the Career section of the article. Wrontheroof (talk) 04:22, 16 June 2026 (UTC)Reply
Hi Wrontheroof, I made an adjustment to the initial request to address the subject's history in WMG before adding this information to the lead section. TheBlueOwl (talk) 00:49, 17 June 2026 (UTC)Reply
TheBlueOwl  Done I made the edits whilst keeping the proposed text. Wrontheroof (talk) 23:30, 21 June 2026 (UTC)Reply

References

  1. ^ "Board & Governance". Universal Music Group. Retrieved May 5, 2026.
  2. ^ Hayes, Dade (February 25, 2008). "WMG lifts digital guru to strategy gig". Variety. Retrieved May 5, 2026.
  3. ^ "Board & Governance". Universal Music Group. Retrieved May 5, 2026.
  4. ^ Nicolaou, Anna (January 31, 2023). "Universal Music in talks with big platforms to overhaul streaming model". Finantial Times. Retrieved May 5, 2026.
  5. ^ Aswad, Jem (September 6, 2023). "Universal Music Group and Deezer to Launch New, 'Artist-Centric' Streaming Payment Model". Variety.
  6. ^ Ingham, Tim (October 25, 2023). "Spotify is embracing elements of Universal Music Group's 'artist-centric' royalties model – following a new multi-year licensing deal between UMG and Daniel Ek's platform". Music Business World.
  7. ^ Millman, Ethan (September 29, 2021). "Can Music Rehabilitate Stroke Victims? Universal Music Group Thinks So". Rolling Stone. Retrieved May 5, 2026.
  8. ^ Paine, Andre (May 13, 2025). "Apple Music teams with UMG on audio wellness collection Sound Therapy". Music Week. Retrieved May 5, 2026.
  9. ^ "Verizon adds music videos to V Cast". NBC. February 1, 2005. Retrieved May 15, 2026.
  10. ^ Paine, Andre (May 13, 2025). "Warner Music Group Announces Transition in Digital Strategy Team". Security Exchange Commission. Retrieved May 5, 2026.

COI: Executive roles and initiatives

[edit]
Latest comment: 1 month ago7 comments2 people in discussion

Hi fellow Wikipedians,

I have disclosed a WP:COI regarding this subject on my talk page. I would like to propose a few factual updates to add details regarding the subject's roles and top initiatives. I have provided the specific text changes along with independent, high-quality secondary sources below for your review.

1. Add: “WMG brought back Nash appointing him as Head Business Development Executive in 2015 to serve as global digital strategy and business development advisor.[1]

  • Placement: Warner Music Group section, last paragraph
  • Rationale: This update provides a factually neutral record of an appointment using an independent, secondary industry source to ensure completeness of the biographical timeline.

2. Add: In October 2017, with Michael Nash serving as executive vice president of digital strategy, UMG launched an accelerator engagement network aimed at developing music-based startups.[2]

  • Placement: Universal Music, second to last paragraph
  • Rationale: This update adds this documented 2017 initiative using an independent, secondary industry source per Verifiability (WP:V) and (WP:RS).

3. Update: From 1991 through 1994, Nash joined the Voyager Company, serving as Director of the Criterion Collection.[3]

  • Current entry: He earlier served as director of the Criterion Collection
  • Placement: Career, 2nd sentence

4. Add: While serving as a partner at The Voyager Company, Nash was involved in the acquisition and development of several contemporary film releases for The Criterion Collection, including Robert Altman's Short Cuts and the anime film Akira. Under Nash's direction, Criterion expanded its catalog to include LaserDisc editions of contemporary Black cinema, releasing titles such as John Singleton’s Boyz N the Hood and the Hughes brothers’ Menace II Society.[4][5]

  • Placement: Career, 2nd sentence
  • Rationale: This update adds verified historical details regarding the subject's early career, supported by independent, high-quality secondary sources in accordance with WP:V, WP:RS, and WP:NPOV.

Thank you! TheBlueOwl (talk) 22:42, 8 July 2026 (UTC) TheBlueOwl (talk) 22:42, 8 July 2026 (UTC)Reply

References

  1. ^ Kafka, Peter (June 17, 2015). "Warner Music Group Brings Back Digital Veteran Michael Nash to Head Biz Dev". VOX. Retrieved June 14, 2026.
  2. ^ Garner, George (October 17, 2017). "Universal Music Group launches accelerator engagement network to 'support the next generation of entrepreneurs'". Music Week. Retrieved June 14, 2026.
  3. ^ "Michael Nash, EVP, Digital Strategy, Universal Music Group". Music Business Worldwide. Retrieved June 14, 2026.
  4. ^ Hunt, Joshua (February 29, 2024). "Sure, It Won an Oscar. But Is It Criterion?". The New York Times. Retrieved June 14, 2026.
  5. ^ Lombreglia, Ralph (June 5, 1997). "Digital Culture: What happened to multimedia?". The Atlantic. Retrieved June 14, 2026.
Question:
  • Where it states While serving as a partner at The Voyager Company, Nash was involved in the acquisition and development of several contemporary film releases for The Criterion Collection Could you please clarify what the text means by "involved"? When ready to proceed, kindly change the {{Edit COI}} template's answer parameter to read from |ans=y to |ans=n. Thank you!

Regards,  Spintendo  01:47, 13 July 2026 (UTC)Reply

Hi Spintendo,
Thank you for your feedback. The New York Times source states that Nash's role at Voyager/Criterion was centered on targeting and bringing in newer, contemporary films that fit a specific commercial and cultural profile.
To better match the source and eliminate the word "involved," we could tweak the text to read as follows:
"While serving as a partner at The Voyager Company, Nash focused on the acquisition and development of several contemporary film releases for The Criterion Collection, including Robert Altman's Short Cuts and the anime film Akira."
This keeps the entire sentence structurally intact but swaps out the ambiguous "involved in" for the source-backed phrase "focused on."
Please let me know if this adjustment is acceptable!
Best! TheBlueOwl (talk) 14:06, 13 July 2026 (UTC)Reply
Hi Spintendo, thank you for the initial feedback. When you have a chance, could you please take a look at my request? Thank you! TheBlueOwl (talk) 13:37, 20 July 2026 (UTC)Reply
Thank you for your reply. You stated that you were suggesting the proposed phrase be altered: swaps out the ambiguous "involved in" for the source-backed phrase "focused on." Without looking at the actual text from NYT, this doesn't seem like an elaboration, but merely, another cryptic description. Could you provide a verbatim quote from NYT so that I can determine whether or not the change is appropriate? I understand you've provided the URL to NYT's piece, but can we have the |quote= parameter activated above in the request with the times' actual text given? That would be a great help. When ready to proceed, change the answer parameter back to unanswered. Thank you!  Spintendo  19:41, 11 August 2026 (UTC)Reply

I see where the text is. Let's compare:

Original text proposal Revised text proposal Source text
While serving as a partner at The Voyager Company, Nash was involved in the acquisition and development of several contemporary film releases for The Criterion Collection including Robert Altman's Short Cuts and the anime film Akira. Under Nash's direction, Criterion expanded its catalog to include LaserDisc editions of contemporary Black cinema, releasing titles such as John Singleton’s Boyz N the Hood and the Hughes brothers’ Menace II Society While serving as a partner at The Voyager Company, Nash focused on the acquisition and development of several contemporary film releases for The Criterion Collection, including Robert Altman's Short Cuts and the anime film Akira. Under Nash's direction, Criterion expanded its catalog to include LaserDisc editions of contemporary Black cinema, releasing titles such as John Singleton’s Boyz N the Hood and the Hughes brothers’ Menace II Society During his brief stint at the helm of the company, Nash focused on acquiring newer movies that he found both “commercially interesting and culturally important,” like “Short Cuts,” by Robert Altman, and Katsuhiro Otomo’s dystopian anime masterpiece “Akira.” He also made Criterion an early proponent of the new wave of African American cinema by releasing LaserDisc editions of films by young directors like John Singleton (“Boyz N the Hood”) and the Hughes brothers (“Menace II Society”).

Now I've highlighted text in the Source text column which was left out from both proposals, which I believe to be significant. The NYT said that his stint there was "brief", but we don't see that carry over to the proposed versions. And, most significantly, the two films that the NYT mentions were apparently chosen for the sole reason that Nash himself found them to be interesting. This motivation is missing from both of your proposed versions.

The other point is that some of the films he "brought" to CC had already been produced on VHS. He released them on laserdisc. So when you propose that we say acquisition and development of several contemporary film releases I'm wondering where the "development" is coming from, as all of these projects were initially developed by the film companies that made them, not by CC, which merely re-releases what the company initially released on another format or, in the case of David Bowie, what the film company failed to release.  Spintendo  20:28, 11 August 2026 (UTC)Reply

Hi Spintendo! Thank you for the detailed feedback. I have revised the proposed text to directly address all your points:
1. Included "Brief Tenure": Explicitly noted his "brief tenure" at the helm of the company.
2. Captured selection rationale: Reframed the selection criteria to highlight that he included films he viewed as commercially interesting and culturally important, directly reflecting the source.
3. Corrected distribution terminology: Removed the reference to "development" and specified that he acquired home video distribution rights for LaserDisc releases.
4. Mentioned that he made Criterion an early proponent of the new wave of African American cinema by releasing LaserDisc editions of films, according to The New York Times.
Updated Proposed Text:
During his brief tenure leading the company, Nash acquired home video distribution rights to release films on LaserDisc for The Criterion Collection, focusing on contemporary films he viewed as commercially and culturally significant. Under this strategy, Criterion released LaserDisc editions of Robert Altman's Short Cuts and Katsuhiro Otomo's Akira. According to The New York Times, Nash's decisions made Criterion an early proponent of contemporary African American cinema through LaserDisc releases of works by young directors, including John Singleton's Boyz n the Hood and the Hughes brothers' Menace II Society.[1][2]
Please let me know if this version meets consensus standards for inclusion. Thanks again!TheBlueOwl (talk) 21:42, 17 August 2026 (UTC) TheBlueOwl (talk) 21:42, 17 August 2026 (UTC)Reply

COI: Improve lead section and update career history

[edit]
Latest comment: 5 days ago1 comment1 person in discussion

Hi fellow Wikipedians,

I have declared a WP:COI on this page and would appreciate help updating the subject's career history in alignment with Wikipedia's neutral point of view and due weight policies.

1. Add: Nash's career includes working in digital strategy at Warner Music Group from 2000 to 2011, following executive roles within the digital media sector.[3][4]

  • Rationale: This addition provides a necessary summary of his multi-year tenure at Warner Music Group, ensuring the lead section accurately reflects his career history. All claims are verifiable and maintain a neutral point of view.
  • Placement: Lead section, second sentence

2. Add: From 1989 to 1991, Nash served as the Media Arts Curator at the Long Beach Museum of Art. During this tenure, he curated exhibitions, including “The Art of Music Video: Ten Years After” from 1991, which traveled to institutions throughout America until the end of 1992.[5][6]

  • Rationale: The text adds verifiable biographical details regarding his early professional background in arts curation, ensuring a comprehensive career history. All claims are neutral (WP:NPOV) and supported by reliable secondary sourcing.
  • Placement: Career, 1st paragraph

3. Update: Prior to joining WMG, Nash was executive director of the Madison Project, a digital distribution trial.

  • New proposed text: In 1999, Nash was appointed Executive Director of the Madison Project, an IBM-led digital music distribution venture conducted in collaboration with the five major music companies. The project was an early industry-scale initiative to sell music online.[7][8][9]
  • Rationale: This addition documents a career milestone bridging arts curation and corporate digital media strategy. The text is neutral (WP:NPOV), historically verifiable (WP:V), and provides necessary context for his subsequent executive roles in the music industry.
  • Placement: Career, 1st paragraph, last sentence

4. Update: Nash joined Warner Music Group (WMG) in 2000, serving in various senior management roles.

  • Proposed new entry: Nash joined WMG in 2000 as Senior Vice President of Digital Strategy and Business Development.[10] During his tenure, Warner Music Group expanded its digital distribution network through partnerships with telecommunications and technology firms, including AT&T, Amazon, Google, Microsoft, Motorola, and Sony Ericsson.[11]
  • Rationale: Replaces overly vague phrasing with specific, verifiable titles and major digital distribution milestones from his 2000–2011 tenure at WMG, while complying with Wikipedia's WP:V and WP:NPOV policies.
  • Placement: Warner Music Group, 1st paragraph, 1st sentence.

5. Add: Following UMG's public listing in 2021, Nash has frequently participated in quarterly investor earnings calls to provide updates on the company's digital business development and strategic initiatives.[12][13][14]

  • Rationale: This addition documents ongoing executive responsibilities following the company's public transition, providing necessary context and due weight regarding his leadership role per WP:DUE. All claims are presented in a neutral tone (WP:NPOV) and are fully supported by reliable trade reporting and corporate transcripts (WP:V, WP:BLP).
  • Placement: Universal Music Group, 1st paragraph, 2nd sentence

Thank you! TheBlueOwl (talk) 16:20, 7 October 2026 (UTC) TheBlueOwl (talk) 16:20, 7 October 2026 (UTC)Reply

  1. ^ Hunt, Joshua (February 29, 2024). "Sure, It Won an Oscar. But Is It Criterion?". The New York Times. Retrieved June 14, 2026.
  2. ^ Lombreglia, Ralph (June 5, 1997). "Digital Culture: What happened to multimedia?". The Atlantic. Retrieved June 14, 2026.
  3. ^ "Michael Nash EVP, Digital Strategy, Universal Music Group". Music Business Worldwide. Retrieved July 29, 2026.
  4. ^ "Corporate Management Board & Governance". Universal Music Group. Retrieved July 29, 2026.
  5. ^ "Michael Nash EVP, Digital Strategy, Universal Music Group". Music Business Worldwide. Retrieved July 29, 2026.
  6. ^ McKenna, Kristine (August 1, 1991). "VIDEO REVIEW : A Decade of Art--Yes, Art--on MTV". Los Angeles Times. Retrieved July 29, 2026.
  7. ^ Shapiro, Eben (February 8, 1999). "IBM, 5 Record Giants Demonstrate Secure Net Delivery System for Music". The Wall Street Journal. Retrieved July 29, 2026.
  8. ^ "Universal Music Group Reorganizes International Operations, Taps Digital Chief". Variety. October 29, 2015. Retrieved July 29, 2026.
  9. ^ Nicolaou, Anna (January 16, 2017). "How streaming saved the music industry". Finantial Times. Retrieved July 29, 2026.
  10. ^ "Michael Nash EVP, Digital Strategy, Universal Music Group". Music Business Worldwide. Retrieved July 29, 2026.
  11. ^ "WMG Digital Shift: Nash Replaces Zubillaga". Celebrity Access. Retrieved August 1, 2026.
  12. ^ Tencer, Daniel (November 3, 2025). "3 things you might have missed from Universal's Q3 earnings call". Music Business Worldwide. Retrieved July 29, 2026.
  13. ^ Dredge, Stuart (October 28, 2021). "UMG revenues grew 16.1% year-on-year to €2.15bn in Q3 2021". Musically. Retrieved July 29, 2026.
  14. ^ "Universal Music Group N.V. Earnings Call Transcripts". Discounting Cash Flows. March 3, 2022. Retrieved August 1, 2026.
Talk:Michael L. Nash - DefZone.Net