Guevoura Fund Ltd., Et Al. V. SFX Entertainment, Inc., Et Al. 15-CV
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SFX ENTERTAINMENT, INC., Et Al.,1 Debtor. Chapter 11 Case No. 16-10
Case 16-10238-MFW Doc 657 Filed 05/25/16 Page 1 of 8 UNITED STATES BANKRUPTCY COURT DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 (MFW) Debtor. Jointly Administered DECLARATION OF ADAM KEIL IN SUPPORT OF THE MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER: (I) AUTHORIZING THE SALE OF ALL OR SUBSTANTIALLY ALL OF THE ASSETS OF THE FAME HOUSE BUSINESS FREE AND CLEAR OF ALL LIENS, CLAIMS, ENCUMBRANCES AND INTERESTS; (II) APPROVING FINAL ASSET PURCHASE AGREEMENT; (III) AUTHORIZING THE ASSUMPTION AND ASSIGNMENT OR REJECTION OF CERTAIN EXECUTORY CONTRACTS AND UNEXPIRED LEASES; AND (IV) GRANTING RELATED RELIEF I, ADAM KEIL, hereby declare, under penalty of perjury, as follows: 1. I am a managing director of Moelis & Company, LLC (“Moelis”), where I have been employed for approximately 8 years. Prior to joining Moelis, I was a vice president in the Recapitalization and Restructuring Group at Jefferies & Company, Inc. I attended the Wharton School at the University of Pennsylvania, where I received a 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc. -
Infinite Setlist: Analyzing Pioneer DJ's Catalogue Streaming Partnerships
Cybaris® Volume 12 Issue 1 Article 2 2021 Infinite Setlist: Analyzing Pioneer DJ’s Catalogue Streaming Partnerships with Beatport and SoundCloud Nicholas Rivera Follow this and additional works at: https://open.mitchellhamline.edu/cybaris Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Rivera, Nicholas (2021) "Infinite Setlist: Analyzing Pioneer DJ’s Catalogue Streaming Partnerships with Beatport and SoundCloud," Cybaris®: Vol. 12 : Iss. 1 , Article 2. Available at: https://open.mitchellhamline.edu/cybaris/vol12/iss1/2 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law CYBARIS®, AN INTELLECTUAL PROPERTY LAW REVIEW INFINITE SETLIST: ANALYZING PIONEER DJ’S CATALOGUE STREAMING PARTNERSHIPS WITH BEATPORT AND SOUNDCLOUD Nicholas Rivera1 Table of Contents Introduction ................................................................................................................................... 36 The Story Thus Far ................................................................................................................... 38 The Rise of Streaming .............................................................................................................. 39 Brief History of DJing -
In the United States Bankruptcy Court for the District of Delaware
Case 16-10238-MFW Doc 10 Filed 02/01/16 Page 1 of 15 IN THE UNITED STATES BANKRUPTCY COURT FOR THE DISTRICT OF DELAWARE In re: Chapter 11 SFX ENTERTAINMENT, INC., et al.,1 Case No. 16-10238 ( ) Debtors. (Joint Administration Requested) MOTION OF THE DEBTORS FOR ENTRY OF AN ORDER AUTHORIZING THE DEBTORS TO HONOR CERTAIN PREPETITION TICKET OBLIGATIONS TO CUSTOMERS AND TO OTHERWISE CONTINUE CERTAIN PREPETITION CUSTOMER PRACTICES IN THE ORDINARY COURSE OF BUSINESS The above-captioned debtors and debtors-in-possession (collectively, the “Debtors”) hereby move the Court (the “Motion”) pursuant to sections 105(a), 363, 507, 1107 and 1108 of title 11 of the United States Code, 11 U.S.C. §§ 101, et seq. (the “Bankruptcy Code”) and Rules 6003 and 6004(h) of the Federal Rules of Bankruptcy Procedure (the “Bankruptcy Rules”) for entry of an order authorizing, but not directing, the Debtors, in their sole discretion, to honor certain prepetition obligations to customers and to otherwise continue certain prepetition customer practices offered in the ordinary course of their prepetition operations. In support of this Motion, the Debtors respectfully state as follows: 1 The Debtors in these Chapter 11 Cases, along with the last four (4) digits of each Debtor’s federal tax identification number, if applicable, are: 430R Acquisition LLC (7350); Beatport, LLC (1024); Core Productions LLC (3613); EZ Festivals, LLC (2693); Flavorus, Inc. (7119); ID&T/SFX Mysteryland LLC (6459); ID&T/SFX North America LLC (5154); ID&T/SFX Q-Dance LLC (6298); ID&T/SFX Sensation LLC (6460); ID&T/SFX TomorrowWorld LLC (7238); LETMA Acquisition LLC (0452); Made Event, LLC (1127); Michigan JJ Holdings LLC (n/a); SFX Acquisition, LLC (1063); SFX Brazil LLC (0047); SFX Canada Inc. -
Satan's Trance Media & Magic Final Exam Colleen Viana 12
SATAN’S TRANCE MEDIA & MAGIC FINAL EXAM https://vimeo.com/55339082 COLLEEN VIANA 12/11/12 Sensation can be defined as the mediation of body and world. It enforces and impacts a premonition of what our bodies experience upon some type of contact. Thus, it allows the body to be opened up to other forces and becomings that affirm in and as the future. This concept, posed by Elizabeth Grosz in Chaos, Territory, Art: Deleuze and the Framing of the Earth, is quite eminent in the subject of magic. The quandry of it as the mediation of object and experience, or science and religion, is what drew me to this video experimentation of the mediations created by media in occult and horror film. While sensation is, perhaps, the only state of consciousness that is impossible to scientifically measure, as are the limits of magic, I find it more valuable to visually see how it can be created/manipulated. The juxtaposition of horror film/television clips, and electronic music (with cosmological and haunting characteristics), and documentary footage from raves/electronic music festivals (that possess qualities of the occult) is experimented in this project. The latter adds an extra layer to this research, paralleling a cultural music phenomenon with the magical representations and rites defined by Mauss. With these media devices combined, I hope to embody this sensory experience that Grosz explains “as the contraction of vibrations...the forces of becoming-other” (Grosz, 80-1). Essentially, how can we experience Hollywood-defined magic and the magic associated with music and rave culture differently? In this video montage, I aim to highlight the three components of magic presented in Mauss’ A General Theory of Magic, in relation to the electronic dance music (EDM) culture. -
SFX Entertainment
MediaTainment FINANCE Issue No. 23 For Decision-Makers and Strategists Who Value Creativity and Appreciate the Value Creativity Brings to Business www.mediatainmentfinance.com Facebook: MediaTainment Finance; Twitter: @MediatainmentMT; @JayKayMed NEWS … 3-14 film: Pinewood regains Shepperton Studios in £37m buyout; China Star raises HK$134m tv: Viacom buys Channel 5 to take on UK; Hearst pays $81m for AwesomenessTV stake music: 10 highest-earning music stars amass $1.36bn games: Gfinity introduces eSport to UK stock exchange; Vivendi settles $275m lawsuit fashion: Advent seeks IPO for fashion retail giant architecture: Thomas Heatherwick Studios designs London, New York river gardens books/prints: HarperCollins launches New Age imprint; Vox Media raises $46.5m ads/marketing: Dentsu Aegis’ $48m Fetch Media acquisition; Brands embrace new tech sport: UK Premier League rights to top $7bn copyright: US Supreme Court tackles Spider Man toy; IP worth $14.5bn to the Philippines live entertainment: Dalian Wanda’s $1.3bn theme park; global music tours valued $20bn photography/art: Iceland government slashes arts funding FEATURES & REPORTS THE UNSEEN: —the London design studio that is taking fashion and innova- tive creative industries by a storm with a magic fabric that changes colour in response to the invisible substances in our environment. See more on … page 15 SFX Entertainment Inc: — why on earth use stock exchange cash to fi- nance electronic dance music festivals starring DJs with names like Avicii, Deadmau5 and Afrojack ? CEO Robert Sillerman -
Privacy Statement Id&T Id&T
PRIVACY STATEMENT ID&T ID&T (also referred to as: “we”, “our” and “us”) takes your privacy very seriously and treats all your personal information with great care. This document sets out the types of data that ID&T collects and for which purposes these data are processed. By using our websites or registering for an account with us, you accept the terms of this Privacy Statement. ID&T therefore recommends you to read this Privacy Statement carefully. 1. Who is ID&T? ID&T consists of a number of separate entities that fall within the ID&T network. The following entities fall within the ID&T network: • ID&T e-Commerce B.V. • ID&T Merchandise B.V. • ID&T Travel B.V. • ID&T Club B.V. • ID&T Trance Energy B.V. • ID&T Management B.V. • ID&T Enterprise B.V. • ID&T Participations Holding B.V. • ID&T Events B.V. • Sensation Holding B.V. • Sensation Netherlands B.V. • Sensation International B.V. • Sensation North America B.V. • Mysteryland Holding B.V. • Mysteryland Netherlands B.V. • Mysteryland International B.V. • Welcome to the Future B.V. • Thunderdome B.V. • Air Festival Holding B.V. • Amsterdam Open Air B.V. Personal data processed by one of these entities are also processed on behalf of the other entities within the ID&T network. The entities within the ID&T network may provide their services through different websites. This Privacy Statement applies to the following websites within the ID&T network: • ID&T.com; • Welcometothefuture.nl • Mysteryland.com • Mysteryland.nl • Sensation.com • Thunderdome.com • Amsterdamopenair.nl • Buitenwesten.am • Valhallafestival.nl • Milkshakefestival.com • Campmoonrise.nl • Festivalmacumba.nl (hereinafter together also referred to as: “Website”). -
Beatport Acquires Leading DJ Streaming & Subscription Service, Pulselocker, Inc
Beatport Acquires Leading DJ Streaming & Subscription Service, Pulselocker, Inc. Purchase will create a seamless DJ experience for Beatport’s customers and expand the company’s product offering beyond downloads. April 5, 2018: Beatport has acquired the assets of Pulselocker, Inc. in a strategic deal that paves the way for the creation of a next generation offering for its half million DJ customers. Pulselocker’s proprietary and patented technology allows DJs to access an integrated locker of music via a variety of performance software applications, including RekordBox (Pioneer DJ), Serato, Virtual DJ and others. The announcement was made today By Beatport’s CEO, RoBB McDaniels. Terms of the acquisition were not disclosed. “Pulselocker spent years developing an innovative solution that provides DJs with the flexiBility to access the content they want when they want it - all through the DJ software they want to use - while providing copyright holders with the security and tracking mechanisms to calculate royalty payments”, commented McDaniels. “Beatport is committed to delivering the Best tools to create a more seamless and interoperaBle user experience for our massive ecosystem of DJs, and Pulselocker accelerates our timeline to deliver just that type of product,” continued McDaniels. Beatport’s acquisition of Pulselocker’s assets further shows the continued financial commitment By parent company LiveStyle to the Beatport Business model. Beatport is currently experiencing its second consecutive year of growth under the new LiveStyle management -
Preventing Drug-Related Deaths at Music Festivals: Why the "Rave" Act Should Be Amended to Provide an Exception for Harm Reduction Services
Chicago-Kent Law Review Volume 93 Issue 3 Comparative and Cross-Border Issues in Article 12 Bankruptcy and Insolvency Law 9-18-2018 Preventing Drug-Related Deaths at Music Festivals: Why the "Rave" Act Should be Amended to Provide an Exception for Harm Reduction Services Robin Mohr Chicago-Kent College of Law Follow this and additional works at: https://scholarship.kentlaw.iit.edu/cklawreview Part of the Criminal Law Commons, Entertainment, Arts, and Sports Law Commons, Food and Drug Law Commons, and the Legislation Commons Recommended Citation Robin Mohr, Preventing Drug-Related Deaths at Music Festivals: Why the "Rave" Act Should be Amended to Provide an Exception for Harm Reduction Services, 93 Chi.-Kent L. Rev. 943 (2018). Available at: https://scholarship.kentlaw.iit.edu/cklawreview/vol93/iss3/12 This Notes is brought to you for free and open access by Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in Chicago-Kent Law Review by an authorized editor of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. PREVENTING DRUG-RELATED DEATHS AT MUSIC FESTIVALS: WHY THE “RAVE” ACT SHOULD BE AMENDED TO PROVIDE AN EXCEPTION FOR HARM REDUCTION SERVICES ROBIN MOHR INTRODUCTION Amid flashing lights and pulsing beats, nearly 100,000 electronic dance music fans attended Electric Zoo on New York’s Randall’s Island in August 2013.1 Unfortunately the party was cut short. Following the deaths of two young fans, the final day of the three-day music festival was can- celed at the request of city authorities.2 In separate incidents, Olivia Ro- tondo, a twenty-year-old University of New Hampshire student, and Jeffrey Russ, a twenty-three-year-old Syracuse University graduate,3 died after collapsing at Electric Zoo with high body temperatures.4 Toxicology results revealed that Ms. -
The Underrepresentation of Female Personalities in EDM
The Underrepresentation of Female Personalities in EDM A Closer Look into the “Boys Only”-Genre DANIEL LUND HANSEN SUPERVISOR Daniel Nordgård University of Agder, 2017 Faculty of Fine Art Department of Popular Music There’s no language for us to describe women’s experiences in electronic music because there’s so little experience to base it on. - Frankie Hutchinson, 2016. ABSTRACT EDM, or Electronic Dance Music for short, has become a big and lucrative genre. The once nerdy and uncool phenomenon has become quite the profitable business. Superstars along the lines of Calvin Harris, David Guetta, Avicii, and Tiësto have become the rock stars of today, and for many, the role models for tomorrow. This is though not the case for females. The British magazine DJ Mag has an annual contest, where listeners and fans of EDM can vote for their favorite DJs. In 2016, the top 100-list only featured three women; Australian twin duo NERVO and Ukrainian hardcore DJ Miss K8. Nor is it easy to find female DJs and acts on the big electronic festival-lineups like EDC, Tomorrowland, and the Ultra Music Festival, thus being heavily outnumbered by the go-go dancers on stage. Furthermore, the commercial music released are almost always by the male demographic, creating the myth of EDM being an industry by, and for, men. Also, controversies on the new phenomenon of ghost production are heavily rumored among female EDM producers. It has become quite clear that the EDM industry has a big problem with the gender imbalance. Based on past and current events and in-depth interviews with several DJs, both female and male, this paper discusses the ongoing problems women in EDM face. -
IMS Business Report 2016: an Annual Study of the Electronic Music Industry
IMS Business Report 2016 An annual study of the Electronic Music industry by Kevin Watson 1 IMS Business Report 2016 by KevinWatson.net IMS Business Report 2016 covers all aspects of the industry, and results of the IMS Survey Music 1 Sales of tracks, albums and streaming by country DJs & Live Acts 2 Profiles of leading artists, including earnings and social media Clubs & Festivals 3 Popularity of festivals and clubs around the World Companies & Brands 4 Key players in industry, recent M&A activity and partnerships 5 IMS Survey Exclusive results from survey of key industry players 6 Industry Overall Updated estimate of value growth of Electronic Music globally 2 IMS Business Report 2016 by KevinWatson.net 1 Music Global music industry growth is being fuelled by South America, China and streaming services Music Revenue Growth by Paid Subscribers to Music Country / Region: Top 5 Streaming Services (YoY 2014-2015) (2012-2015) YoY % Chg +66% 68m 79% 64% 41m m 35% 28m 20m 33% 25% Source: IFPI, Billboard 3 IMS Business Report 2016 by KevinWatson.net 1 Music Dance volume of streams in USA up 33% YoY to 15bn, although share of all formats fell in 2015 Electronic / Dance Music by Format (USA) Streams (bn) Share of Sales by Format (%) +33% • Dance’s share of digital 14.9 Digital Tracks track sales (4.2%) still remains higher than the level it was at in 2012 11.2 • Album share trending to lower level following significant decline in 2014 • In terms of streams, Albums Dance share fell significantly, but overall volume increased 33% YoY from 11bn to 15bn Source: Nielsen Music U.S. -
NOISE & Whispers
A catalogue to support the exhibition of the same name at GV Art gallery, London 7 November to 14 December 2013 Introduction On the 11th of March 1913 the insightful Futurist Luigi paralleled by the increasing proliferation of Thank you for listening. Russolo wrote a letter to Francesco Balilla Pratella that machinery...” Martin A. Smith became known as “L'arte dei Rumori”, The Art Of And so, the notion of using noise as art was Noises. The letter became a manifesto, calling on London, October 2013 crystallised. Over a hundred years ago, the composer composers to "enlarge and enrich the field of sound", spoke to his friend of reaching out beyond the to create sound as art. confines of traditional instruments to “break at all cost Quotes from L'arte dei Rumori by Luigi Russolo from this restrictive circle of pure sounds and conquer In his letter, Russolo reflected: translated by Robert Filliou the infinite variety of noise-sounds.” “For several centuries, life went on silently, or mutedly. The loudest noises were neither intense, nor prolonged The term “sound art” went on to surface in 1983 in an nor varied. In fact, nature is normally silent, except for exhibition by William Hellerman at The Sculpture storms, hurricanes, avalanches, cascades and some Center in New York. True to Russolo’s vision, the art of exceptional telluric movements. This is why man was noise has been driven forward by human impulsion, thoroughly amazed by the first sounds he obtained out gathering pace in keeping with the heightening speed of a hole in reeds or a stretched string. -
Heiko Hoffmann Joins Beatport As Director of Artist & Label Relations
FOR IMMEDIATE RELEASE HEIKO HOFFMANN JOINS BEATPORT AS DIRECTOR OF ARTIST & LABEL RELATIONS BERLIN, DE - September 4, 2018 - Heiko Hoffmann has joined Beatport, a division of LiveStyle, Inc., as Director of Artist & Label Relations. In his new role, working from Beatport's Berlin office, Hoffmann will oversee the company's close relationship with thousands of independent labels and artists. Hoffmann comes to Beatport with two decades of experience in the electronic music industry. The editor-in-chief of Germany's renowned Groove Magazine for 17 years, Hoffmann is also a sought-after lecturer, curator and consultant. In addition to hosting shows on NTS Radio and German public radio station Fritz, Hoffmann teaches at New York University’s Clive Davis Institute of Recorded Music. He is a regular keynote speaker, moderator and panelist at conferences including ADE, Sonar, IMS and MIDEM. Beatport Chief Product Officer, Terry Weerasinghe commented, “The addition of Heiko to the team highlights Beatport’s ongoing commitment to independent dance music, maintaining our core value as a company for the industry, run by the industry.” Hoffmann’s appointment follows several significant milestones for Beatport in 2018. Q1 saw the company announce its new Beatport Creative Services division, with a team based out of Beatport’s Los Angeles and Berlin offices, and a strategic acquisition of Pulselocker. Beatport also strengthened its commitment to independent artists and labels with its new Hype Charts, launched in June. These developments come in Beatport's second year of growth and profitability under a new management team and as a division of LiveStyle. About Beatport Founded in 2004 as the principal source of music for DJs, Beatport, a division of LiveStyle, is today the worldwide home of electronic music for DJs, producers, and their fans.