Tencent Elephant Can Dance with the “MUSIC”
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Universal Music Group and Tencent Music Entertainment Group Enter Into Strategic Agreement Significantly Expanding Chinese Music Market
UNIVERSAL MUSIC GROUP AND TENCENT MUSIC ENTERTAINMENT GROUP ENTER INTO STRATEGIC AGREEMENT SIGNIFICANTLY EXPANDING CHINESE MUSIC MARKET – Provides Vast Multi-Platform Distribution and Marketing Opportunities Across China – Companies to Develop Abbey Road Studios China to Create World-Class Recording Studio and Accelerate Development of Local Talent SHENZHEN and SANTA MONICA, MAY 16, 2017 – Universal Music Group (UMG), the world leader in music-based entertainment, and Tencent Music Entertainment Group (TME), a leading digital music distribution platform in China, today announced the signing of a landmark licensing agreement that will significantly expand the Chinese music market. Under the terms of the multi-year agreement, TME will distribute music from UMG’s roster of record labels and global recording stars on its streaming platforms QQ Music, KuGou and Kuwo. TME will also be UMG’s master distribution and licensing partner to exclusively sub-license UMG’s content to third- party music service providers in China. Both parties will work together to find new ways to develop artists, to innovate business models and to reinforce a robust copyright protection environment. In addition, TME will support UMG artists to promote their music, leveraging Tencent online properties and other media channels. In China, TME is one of the largest music platforms, providing over 17 million songs to 600 million monthly active users. TME is a strong advocate of authorized music and has earned industry recognition for driving growth in the digital music industry, with more than 15 million paying subscribers. UMG represents one of the most comprehensive catalogues of recordings and songs across every music genre. -
Issues Paper: Reining in China's Technology Giants
Mapping China’s Technology Giants Reining in China’s technology giants Fergus Ryan, Audrey Fritz and Daria Impiombato S OF AS AR PI E S Y T Y R T A T N E E G Y W T Issues paper 2 0 1 01 - 20 2 Report No. 46/2021 About the authors Fergus Ryan is an analyst with ASPI’s International Cyber Policy Centre. Audrey Fritz is a researcher with ASPI’s International Cyber Policy Centre. Daria Impiombato is a researcher with ASPI’s International Cyber Policy Centre Acknowledgements Thank you to Danielle Cave, Cheryl Yu and Elena Yi-Ching Ho for all of their work on this project. We would like to also thank our external peer reviewers, Elliott Zaagman and Peter Cai. We’re also grateful for the valuable comments and assistance provided by Michael Shoebridge and Fergus Hanson. This research report forms part of Mapping China’s Technology Giants, a multi-year project mapping and analysing the overseas expansion of key Chinese technology companies. This project seeks to: (1) Analyse the global expansion of a key sample of China’s tech giants by mapping their major points of overseas presence, and (2) Provide the public with analysis of the governance structures and party-state politics in which these companies have emerged, and are deeply entwined. The Mapping China’s Technology Giants project is produced by researchers at ASPI’s International Cyber Policy Centre. The re-launch of this project, and associated research, was funded with a US$270,000 grant from the US State Department. -
Audio OTT Economy in India – Inflection Point February 2019 for Private Circulation Only
Audio OTT economy in India – Inflection point February 2019 For Private circulation only Audio OTT Economy in India – Inflection Point Contents Foreword by IMI 4 Foreword by Deloitte 5 Overview - Global recorded music industry 6 Overview - Indian recorded music industry 8 Flow of rights and revenue within the value chain 10 Overview of the audio OTT industry 16 Drivers of the audio OTT industry in India 20 Business models within the audio OTT industry 22 Audio OTT pie within digital revenues in India 26 Key trends emerging from the global recorded music market and their implications for the Indian recorded music market 28 US case study: Transition from physical to downloading to streaming 29 Latin America case study: Local artists going global 32 Diminishing boundaries of language and region 33 Parallels with K-pop 33 China case study: Curbing piracy to create large audio OTT entities 36 Investments & Valuations in audio OTT 40 Way forward for the Indian recorded music industry 42 Restricting Piracy 42 Audio OTT boosts the regional industry 43 Audio OTT audience moves towards paid streaming 44 Unlocking social media and blogs for music 45 Challenges faced by the Indian recorded music industry 46 Curbing piracy 46 Creating a free market 47 Glossary 48 Special Thanks 49 Acknowledgements 49 03 Audio OTT Economy in India – Inflection Point Foreword by IMI “All the world's a stage”– Shakespeare, • Global practices via free market also referenced in a song by Elvis Presley, economics, revenue distribution, then sounded like a utopian dream monitoring, and reducing the value gap until 'Despacito' took the world by with owners of content getting a fair storm. -
Global Music Report 2018 ANNUAL STATE of the INDUSTRY
Global Music Report 2018 ANNUAL STATE OF THE INDUSTRY Global top 10 recording artists of 2017 Untitled-3 1 3/4/18 3:58 PM GLOBAL MUSIC REPORT 2018: STATE OF THE INDUSTRY Welcome · 3 Welcome As an artist, I am privileged to perform One of the crucial roles for record com- before audiences around the world and panies is to support and invest in artists see first-hand how essential music is for and to help them develop for their greatest people from every walk of life. creative and commercial success, so that But even as music’s essence is endur- their music can be enjoyed by fans around ing, much about music is changing. the world. The IFPI Global Music Report tells the It is therefore essential that all music cre- PLÁCIDO DOMINGO story of recorded music’s ongoing journey. ators are fairly compensated for their work. I CHAIRMAN, IFPI Today, artists are reaching music fans in have met with policymakers in Europe and ways I never could have imagined when I elsewhere to call on them to back legislation began my own career. Music is global and that would support this by addressing the increasingly digital. This transformation value gap, thereby ensuring a fair and bal- has been fundamental and rapid and offers anced digital marketplace for all. great opportunities. We are living in an incredibly exciting But we can never forget that music time for recorded music. We must persevere does not just happen. It requires the hard with our efforts to ensure its journey benefits work, commitment, investment and artist- the music creators and fans of today, and ry of so many people. -
Competitiveness in Music Streaming
Competitiveness in Music Streaming Investigating how the entry of big technology companies influence competitive advantages in music streaming Master’s Thesis in the Masters’ Programme Management and Economics of Innovation Linus Adolfsson Eric Bonfré DEPARTMENT OF TECHNOLOGY MANAGEMENT AND ECONOMICS Division of Entrepreneurship and Strategy CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2020 www.chalmers.se Report No. E2020:021 REPORT NO. E2020:021 Competitiveness in Music Streaming: Investigating how the entry of big technology companies influence the sources of competitive advantages in the music streaming industry LINUS ADOLFSSON ERIC BONFRÉ Supervisor, Chalmers: Adrian Bumann Department of Technology Management and Economics Division of Entrepreneurship and Strategy CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2020 Investigation of how the entry of big technology companies influence the sources of competitive advantage in the music streaming industry LINUS ADOLFSSON ERIC BONFRÉ © LINUS ADOLFSSON © ERIC BONFRÉ Master’s Thesis E2020:021 Department of Technology Management and Economics Division of Entrepreneurship and Strategy Chalmers University of Technology SE-412 96 Gothenburg, Sweden Telephone + 46 (0)31-772 1000 Gothenburg, Sweden 2020 Acknowledgement The authors of this report would like to send their gratitude towards our supervisor at Chalmers University of Technology, Adrian Bumann, who has supported and guided us through the procedure of conducting the study as well as providing continuous feedback. 1 Abstract Big technology companies are present in a range of different industries, and they keep expanding into even more - music streaming being one of them. They create large ecosystems where digital products and services are added to provide both economies of scale and economies of scope. -
[TME] - Tencent Music Entertainment Group Second Quarter 2019 Financial Results Conference Call Monday, August 12, 2019, 8:00 PM ET
[TME] - Tencent Music Entertainment Group Second Quarter 2019 Financial Results Conference Call Monday, August 12, 2019, 8:00 PM ET Officers Millicent Tu, VGM, IR Cussion Pang, CEO Tony Yip, CSO Shirley Hu, CFO Analysts John Egbert, Stifel, Nicolaus Alex Yao, JPMorgan Chase Eddie Leung, Bank of America Merrill Lynch Piyush Mubayi, Goldman Sachs Group Thomas Chong, Jefferies Hans Chung, KeyBanc Capital Markets Gary Yu, Morgan Stanley Presentation [Technical Difficulty] Operator: Ladies and gentlemen, good evening and good morning, and thank you for standing by. Welcome to the Tencent Music Entertainment Group's Second Quarter 2019 Earnings Conference Call. At this time, all participants are in listen-only mode. (Operator Instructions). Today you will hear discussions from the management team of Tencent Music Entertainment Group, followed by a question-and-answer session. (Operator Instructions). Please be advised that this conference is being recorded today. If you have any objections, you may disconnect at this time. Now, I will turn the conference over to your speaker host today, Ms. Millicent Tu. Please go ahead. Millicent Tu: Thank you, operator. Hello, everyone, and thank you all for joining us on today's call. Tencent Music Entertainment Group announced its financial results for the second quarter of 2019 today after the market close. An earnings release is now available on our IR website at ir.tencentmusic.com, as well as via newswire services. Today you will hear from Mr. Cussion Pang, our CEO, who will start off the call with an overview of our recent achievements and growth strategy. He will be followed by Mr. -
Download on Our Platform and We Have Obtained Licenses from Many Content Providers
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 20-F (Mark One) ¨ REGISTRATION STATEMENT PURSUANT TO SECTION 12(b) OR 12(g) OF THE SECURITIES EXCHANGE ACT OF 1934 or x ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2013. or ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to or ¨ SHELL COMPANY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 Date of event requiring this shell company report Commission file number: 000-51469 Baidu, Inc. (Exact name of Registrant as specified in its charter) N/A (Translation of Registrant’s name into English) Cayman Islands (Jurisdiction of incorporation or organization) Baidu Campus No. 10 Shangdi 10th Street Haidian District, Beijing 100085 The People’s Republic of China (Address of principal executive offices) Jennifer Xinzhe Li, Chief Financial Officer Telephone: +(86 10) 5992-8888 Email: [email protected] Facsimile: +(86 10) 5992-0000 Baidu Campus No. 10 Shangdi 10th Street, Haidian District, Beijing 100085 The People’s Republic of China (Name, Telephone, Email and/or Facsimile number and Address of Company Contact Person) Securities registered or to be registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered American depositary shares (ten American depositary shares representing one Class A ordinary share, The NASDAQ Stock Market LLC par value US$0.00005 per share) (The NASDAQ Global Select Market) Class A ordinary shares, par value US$0.00005 per share* The NASDAQ Stock Market LLC (The NASDAQ Global Select Market) * Not for trading, but only in connection with the listing on The NASDAQ Global Select Market of American depositary shares. -
Marketing Plan
ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A. -
2020 China Country Profile
1 China Music Industry Development Report COUNTRY China: statistics PROFILE MARKET PROFILE claiming that China’s digital music business 13.08.20 ❱China increased by 5.5% from 2017 to 2018 while the number of digital music users exceeded Population... 1.4bn 550m, a jump of 5.1% year-on-year. GDP (purchasing power parity)... $25.36tn GDP per capita (PPP)... $18,200 What, exactly, these digital music users are doing is still not entirely clear. Streaming, as 904m Internet users... you might imagine, dominates digital music Broadband connections... 407.39m consumption in China. The divide, however, Broadband - subscriptions per 100 inhabitants... 29 between ad-supported and paid users is opaque at best. The IFPI, for example, reports Mobile phone subscriptions... 1.65bn that revenue from ad-supported streaming Smartphone users... 781.7m is greater than that of subscription in China Sources: CIA World Factbook/South China Morning Post/Statista – a claim that was met with some surprise by some local Music Ally sources. “For most of the platforms, subscription income is still the largest contributor in the digital music market,” says a representative of NetEase A lack of reliable figures makes China a Cloud Music. difficult music market to understand. Even so, Simon Robson, president, Asia Region, its digital potential is vast. Warner Music, says that the ad-supported China basically lives model isn’t really set up to make money in China but is instead designed to drive traffic CHINA’S GROWING IMPORTANCE as a service NetEase Cloud Music, warned inside WeChat now... to the service. “Within China, the GDP is so digital music market is perhaps only matched that IFPI numbers for China were largely we fix problems for the different from city to city that it becomes by a fundamental lack of understanding based on advances; that means they may difficult to set standard pricing per month that exists about the country. -
The Changing Face of China's Music Market Musicdish*China, May 2017 China’S Old Music Industry Changing Landscape
THE CHANGING FACE OF CHINA'S MUSIC MARKET MUSICDISH*CHINA, MAY 2017 CHINA’S OLD MUSIC INDUSTRY CHANGING LANDSCAPE • 2013 estimated value of recorded music industry of US$82.6 million (5.6% increase), 21st largest (IFPI) • 2015 estimated value of recorded music industry of US$169.7 million (63.8% increase), 14th largest (IFPI) • 2016 value of recorded music industry grew 20.3% on 30.6% increase in streaming revenue, 12th largest (IFPI) • Digital music industry compound annual growth rate (2011-15): +28.5% (Nielsen) • Government policy: copyright law and enforcement • Market consolidation & music licensing • Shift to smartphone, lower mobile data cost, increased connectivity 40 Tencent: QQ + Kugou + Kuwo ~ 78% 30 Netease 9% 20 Xiami (Alibaba) 10 4% Other: Baidu, Apple Music,… 9% 0 QQ Kugou Kuwo Netease Xiami Other STEFANIE SUN & APPLE MUSIC • EP “RAINBOW BOT” EXCLUSIVELY ON APPLE MUSIC • EXCLUSIVE 3 MINUTE DOCUMENTARY • RANKED NUMBER 4 FOR “5 CAN’T-MISS APPLE MUSIC EXCLUSIVE ALBUM” STREAMING WARS: TENCENT VS. NETEASE • 10th most valued company, world’s largest video game company by revenue, WeChat has 889M active users • Tencent has 600M active monthly users and over 15M paying music subscribers • QQ Music has 200M active monthly users • Combined with Kuwo and Kugou (CMC acquisition), control 77% of music streaming market • NetEase Music Cloud recently joined ranks of unicorns • Netease has over 300M active monthly users MOBILE MUSIC LANDSCAPE • 2015 mobile music industry US$945 million • Estimated 2016 mobile music industry US$1.4 billion -
Global Audio Revolution the Music Has Changed
15 February 2019 Global EQUITIES Global Audio Revolution 40,000 10.0% The music has changed 30,000 5.0% 0.0% 20,000 -5.0% 10,000 -10.0% Key points 0 -15.0% 2007 2015 2006 2008 2009 2010 2011 2012 2013 2014 2016 2017 2018E 2019E 2020E 2005 The convergence of advertising and consumer direct spend on audio entertainment disrupts broadcast radio in favour of streaming platforms. Recorded music Radio Audiobook But the golden age of recorded music is behind us. Audiobooks and Streamcasts Audio yoy (RHS) podcasts are gaining share, undermining labels’ competitive position. Source: IFPI, Magna, APA, IAB, Macquarie Inside Our top picks are companies building a competitive advantage in the wider audio entertainment space: TME, SPOT and SIRI. Underperform on VIV. Table of contents 3 Exec summary 5 New models in audio entertainment Redefining audio entertainment 16 Recorded music is to audio what films are to video entertainment. It’s premium Freemium convergence 20 content, but it only represents 36% of the total 2018E audio revenues in the US. Streaming revolution 29 OTT is the first technology that brings together all audio content (music, Content-distribution equilibrium disrupted 36 audiobooks and radio/podcasts) on a single distribution platform. And it reunites advertising revenues with consumers’ direct spend (downloads/ subscriptions). Vertical integration appeal/necessity 40 Further disruption comes from a new type of integration achieved by TME (social/ The buoyant Chinese market 42 entertainment ecosystem) and by Amazon (e-commerce/entertainment plus voice Smart speakers and voice platforms 46 platform). Our new global audio entertainment model 50 Streamcasts and audiobooks rise, music slows Regulation 53 We argue our holistic approach allows new investment opportunities: 1) Ad revenues shift from broadcast radio to on-demand streaming - We expect commercial radio advertising to decline as streaming platforms grow into podcasts, the equivalent of unscripted TV shows in parallel with video Analysts content. -
Universita' Degli Studi Di Padova
UNIVERSITA’ DEGLI STUDI DI PADOVA DIPARTIMENTO DI SCIENZE ECONOMICHE ED AZIENDALI “M.FANNO” CORSO DI LAUREA MAGISTRALE IN BUSINESS ADMINISTRATION TESI DI LAUREA UNDERPRICING AND DIRECT PUBLIC OFFERINGS: THE SPOTIFY DIRECT LISTING CASE RELATORE: CH.MA PROF.SSA ELENA SAPIENZA LAUREANDA: SILVIA BRUSON MATRICOLA N. 1179585 ANNO ACCADEMICO 2018 – 2019 Il candidato dichiara che il presente lavoro è originale e non è già stato sottoposto, in tutto o in parte, per il conseguimento di un titolo accademico in altre Università italiane o straniere. Il candidato dichiara altresì che tutti i materiali utilizzati durante la preparazione dell’elaborato sono stati indicati nel testo e nella sezione “Riferimenti bibliografici” e che le eventuali citazioni testuali sono individuabili attraverso l’esplicito richiamo alla pubblicazione originale. The candidate declares that the present work is original and has not already been submitted, totally or in part, for the purposes of attaining an academic degree in other Italian or foreign universities. The candidate also declares that all the materials used during the preparation of the thesis have been explicitly indicated in the text and in the section "Bibliographical references" and that any textual citations can be identified through an explicit reference to the original publication. Firma dello studente _________________ TABLE OF CONTENTS INTRODUCTION ................................................................................................................................. 3 CHAPTER 1 - THE LISTING