Licensing Rules Repertoire Definition
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In the United States District Court for the Middle District of Florida Fort Myers Division
Case 2:19-cv-00843-JES-NPM Document 1 Filed 11/25/19 Page 1 of 46 PageID 1 IN THE UNITED STATES DISTRICT COURT FOR THE MIDDLE DISTRICT OF FLORIDA FORT MYERS DIVISION : PRO MUSIC RIGHTS, LLC and SOSA : ENTERTAINMENT LLC, : : Civil Action No. 2:19-cv-00843 Plaintiffs, : : v. : : SPOTIFY AB, a Swedish Corporation; SPOTIFY : USA, INC., a Delaware Corporation; SPOTIFY : LIMITED, a United Kingdom Corporation; and : SPOTIFY TECHNOLOGY S.A., a Luxembourg : Corporation, : : Defendants. PLAINTIFFS’ COMPLAINT WITH INJUNCTIVE RELIEF SOUGHT AND DEMAND FOR JURY TRIAL Plaintiffs Pro Music Rights, LLC (“PMR”), which is a public performance rights organization representing over 2,000,000 works of artists, publishers, composers and songwriters, and Sosa Entertainment LLC (“Sosa”), which has not been paid for 550,000,000+ streams of music on the Spotify platform, file this Complaint seeking millions of dollars of damages against Defendants Spotify AB, Spotify USA, Inc., Spotify Limited, and Spotify Technology S.A. (collectively, “Spotify” or “Defendants”), alleging as follows: NATURE OF ACTION 1. Plaintiffs bring this action to redress substantial injuries Spotify caused by failing to fulfill its duties and obligations as a music streaming service, willfully removing content for anti-competitive reasons, engaging in unfair and deceptive business practices, Case 2:19-cv-00843-JES-NPM Document 1 Filed 11/25/19 Page 2 of 46 PageID 2 obliterating Plaintiffs’ third-party contracts and expectations, refusing to pay owed royalties and publicly performing songs without license. 2. In addition to live performances and social media engagement, Plaintiffs rely heavily on the streaming services of digital music service providers, such as and including Spotify, to organically build and maintain their businesses. -
Testimony of Jonathan Bender
Public Version Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Washington, D.C. In the Matter of: Determination of Royalty Rates and Terms Docket No. 16-CRB-0001 SR/PSSR for Transmission of Sound Recordings by (2018-2022) Satellite Radio and “Preexisting” Subscription Services (SDARS III) WRITTEN DIRECT TESTIMONY OF Jonathan Bender Chief Operating Officer SoundExchange, Inc. October, 2016 Public Version BACKGROUND AND QUALIFICATIONS I am the Chief Operating Officer of SoundExchange, Inc.("SoundExchange"), a position I have held since September 2011. In this role, I oversee the collection, processing and distribution of royalties for all types of seiwices eligible for statutory licensing, including the satellite digital audio radio services("SDARS") and preexisting subscription services ("PSS") at issue in this proceeding. The groups within SoundExchange that handle repertoire management, rights inanageinent, licensee management, data management, account services, and distribution services all report to me. Additionally, I oversee SoundExchange's technical involvement with licensees and assist with coordination of its systems requirements, development, testing and operations. In all, I have over 25 years of music industry business and management expertise, including senior operational roles at Concord Music Group, Universal Music Group, and EMI Music. I was senior vice president, operations, IT and digital development at Concord Music Group. Before joining Concord, I spent seven years with Universal Music Group, most recently as vice president, digital asset management and logistics. I also spent nine years with EMI Music, most recently as Director of New Technology. I hold a bachelor's degree from the University of North Carolina at Chapel Hill and an MBA from Harvard Business School. -
7Digital Group Plc (“7Digital”, “The Group” Or “The Company”)
26 September 2017 7digital Group plc (“7digital”, “the Group” or “the Company”) Interim results for the half year ended 30 June 2017 7digital Group plc (AIM: 7DIG), the global leader in end-to-end digital music solutions, today announces its interim results for the half year ended 30 June 2017 (“H1”). Highlights Strong sales momentum into the second half of the year - Total revenues up 17% on a pre currency movement basis and 9% on adjusted basis to £5.9m (H1 2016: £5.4m) - Licensing revenues up 33% to £4.0m (H1 2016: £3.0m) - MRR up 38% to £3.2m (H1 2016: £2.3m) - LBITDA reduced by 36% to £1.7m (H1 2016: £2.6m) Benefits from the acquisition of 24-7 Entertainment (“24-7”), effective from 1 June 2017, starting to come through with additional revenue of £530k in June as a result of the acquisition MediaMarktSaturn (“MMS”), Europe’s biggest electronics and entertainment retailer, becomes the Company’s largest shareholder following the acquisition of 24-7 Entertainment Contracts signed with MMS as part of the transaction with a value of £18.0m over three years Total combined value of other one/two year contracts signed in the period of £4.0m. These included contracts with all three major record labels, the re-launch of TriPlay's eMusic service in the US and a renewed contract with musical.ly across additional territories, with revenue to be recognised over the next year More than 65% of H2 licensing revenues (£7.5m out of £11.3m) already contracted or committed £2.9m raised through a placing and open offer in March 2017 which allowed -
Repertoire Licensing Body Pan-European Licensing
Pan-European Repertoire Licensing Body licensing Repertoire Definition DSPs Use Type Start Date End Date Contact SonyATV & EMI – Anglo SOLAR Music Rights Y SonyATV & EMI – Anglo American repertoire: All except DSP's which come under the sub-agent/re- all digital 01 January 2015 [email protected] American repertoire Management The relevant repertoire at the work share level consists of any work share published by a Sony or aggregation agreements. EMI company in your territory (ie: for which you pay offline rights income to the local SonyATV or EMI affiliate) and which is written by a member of the Anglo American societies (PRS, ASCAP, BMI, SESAC, AMRA, SOCAN, IMRO, SAMRO or APRA) or a work share which is written by a writer or composer who is not a member of any society (NS) or represented by Global Music Rights (GMR). EMI SOLAR-Music Rights Y (a) The share of the music and the lyrics (if any) of Musical Works owned and/or controlled by any all except DSPs which come under the sub-agent/re- all digital 01 January 2008 31 December 2014 [email protected] Anglo-American repertoire Management company in the EMI Music Publishing group of companies operating in any of the United Kingdom, aggregation agreements (only apply until 31.12.2014) (formerly CELAS) Ireland, United States of America, Canada, Australia, New Zealand and South Africa which are written and/or composed and/or arranged in whole or in part by writers, composers and/or arrangers who are members of any of the following collecting societies namely PRS, IMRO, ASCAP, BMI, SESAC, SOCAN, APRA and SAMRO. -
NEWSLETTER a N E N T E R T a I N M E N T I N D U S T R Y O R G a N I Z a T I On
October 2012 NEWSLETTER A n E n t e r t a i n m e n t I n d u s t r y O r g a n i z a t i on What does a music producer do, anyway? By Ian Shepherd The term ‘music producer’ means different things to different The President’s Corner people. Some are musicians, some are engineers, some are remixers. So what does a music producer actually do ? Big thanks tonight to Kent Liu and Michael Morris for putting together such an impressive panel of producers. In very pragmatic terms, the producer is a ‘project manager’ for As a reminder, we are able to provide & present this type the recording, mixing and mastering process. of dinner meeting because of our corporate and individual She has an overall vision for the music, the sound and the goals memberships, so please go to theccc.org today and renew of the project, and brings a unique perspective to inspire, assist your membership – we appreciate your support (and the and sometimes provoke the artists. membership pays for itself if you attend our meetings on a regular basis). See you in November!! The producer should make the record more than the sum of its parts – you could almost say she is trying to create musical alchemy. Eric Palmquist Every producer brings different skills and a different approach, President, California Copyright Conference. and this can make what they do difficult to summarize. In this post I’ve identified seven distinct types of record producer to try and make this clearer. -
7Digital Group Initiation of Coverage
7digital Group Initiation of coverage Stand and deliver Media 10 July 2017 7digital is a leading provider of turnkey solutions that enable businesses to offer digital music services to their customers. It has made significant Price 6.25p strategic progress over the last year, culminating in the acquisition of its Market cap £11m largest European competitor, 24-7, which adds £18m of secured revenues over three years and synergy potential. We believe it is well placed to Net debt (£m) as at 31 December 2016 0.7 benefit from the evolution in the market for music streaming and forecast Net cash (£m) post the March 2017 £3m 2.2 profitability from FY18; the shares look extremely attractive at these levels. equity raise Shares in issue 183m Revenue EBITDA PBT* EPS* DPS EV**/ P/E Year end (£m) (£m) (£m) (p) (p) EBITDA (x) (x) Free float c 84% 12/15 10.4 (2.1) (7.6) (7.1) 0.0 N/A N/A Code 7DIG 12/16 11.9 (3.5) (4.7) (4.1) 0.0 N/A N/A 12/17e 19.1 (1.7) (2.9) (1.8) 0.0 N/A N/A Primary exchange AIM 12/18e 24.9 3.0 2.1 1.2 0.0 3.1 5.2 Secondary exchange N/A Note: *PBT and EPS are normalised, excluding amortisation of acquired intangibles, exceptional items and share-based payments. **EV adjusted for the £3m March equity raise. Share price performance 24-7 acquisition cements leading position 7digital has made considerable progress over the last year and now counts all three major music groups as partners, along with a number of strategically significant clients in the retail, hardware, social media and automotive segments. -
California Teachers Association Advocate for Students and Public Education
HONOREE CALIFORNIA TEACHERS ASSOCIATION ADVOCATE FOR STUDENTS AND PUBLIC EDUCATION The California Teachers Association is the state’s larg- est professional employee union, representing more than 325,000 public school teachers, counselors, psychologists, social workers, librarians, nurses and education support professionals, among others. It has become one of the nation’s strongest advocates for students and educators, and is also a leading proponent of civil rights and economic equality. CTA has been a strong supporter of living wage policies, including LAANE’s 2008 LAX hotel living wage law. CTA has won many landmark victories in its 150-year his- tory, from legislation providing free public schools and free textbooks for all of California’s children to laws banning child labor in the state. In the 1940s, the union was one of a handful of organizations to protest the internment of Japanese-Americans during World War II. CTA led the critical campaign in 1988 to pass Prop. 98, the law guaranteeing minimum funding for K-12 schools and community colleges. Educators joined with parents in passing legislation to reduce class sizes in our earliest grades and led campaign efforts to pass more than $30 billion to build new schools and repair rundown facilities. CTA also played a pivotal role in defeating Gov. Schwarzeneg- ger’s 2005 ballot initiatives that would have cut school funding, undermined the due-process rights of educators and silenced the voices of public employees. Last year, CTA led the fight to pass Gov. Jerry Brown’s Proposition 30, which stopped $6 billion in education cuts to schools and colleges and will generate $47 billion for public schools, colleges and other essential services over the next seven years. -
Digitalna Distribucija Gradišćanskih Hrvat*Ic
DIGITALNA DISTRIBUCIJA GRADIŠĆANSKIH HRVAT*IC AUSTRIJA | SLOVAČKA | UGARSKA gh.digital audio ver. 1.2 /gh.digital2021 • https://gh.digital • [email protected] 1 | 4 DISTRIBUCIJA MUZIKE Naš paket bez dodatnih tekućih stroškov 85 % dobitka za tebe Stroške za upload preuzame gh.digital. Već slobode gh.digital nudi početnikom i profesionalcem prodajni model, ki pokriva sve potriboće: prodaj i emitiraj svoju muziku u najbolji svitski trgovina i zadrži sva prava i svoju slobodu. Kada mi kamo ča prodajemo, odlučiš samo ti. Svi ugovori nisu s nami ekskluzivni i se moru svaku dob otpovidati. To znači prava sloboda, iako se tvoja situacija ili tvoji plani minjaju. • Takedowns svaku dob i besplatno. • Vlašće kode? Moreš hasnovati. • Vlašći label? Moreš hasnovati. Već dobitka Mi kod gh.digital razumimo, da svi izdavači i muzičari imaju jako različne želje i potriboće i pravoda kanu čim već zaslužiti. Mi kanimo u svakom momentu ponuditi pravi model i uz potpunu uslugu zadržati čim nižu cijenu. Ti odlučiš, kada ćeš i koliko od tvojega dobitka prenositi. • 85 % dobitka od prodaje. • Osobna trend analiza, svenek i za svaki release moguća. • Misečni dobropis, plaća se od 1 €. • Maloga "tiskanoga" ne postoji, bez dodatnih stroškov. • YouTube monetarizacija je moguća. Već usluge Tvoja muzika je tebi važna – nam isto! I zato zaslužuje samo najbolju uslugu. Tvoji metapodatki ćedu se pred dostavom temeljito provjeriti i optimirati, da bi dostignuli najbolji mogući rezultat u marketingu. Dodatno smo uključili i druge besplatne usluge, kod kih mislimo, da su za tvoju muziku važni. • Novi fani te moru lako najti. • Link page k tvojemu izdanju inkludiran. • Updatei i promjene trgovin su slobodne u bilo kom momentu. -
DMG Music Distribution Channels
Distribution Channels Stores Store Type Territory Provider Direct Streaming and Akazoo Worldwide Internet Radio Amazon Music Download Worldwide Amazon Prime Streaming Worldwide Amazon Unlimited Streaming Worldwide Anghami Streaming Middle East Apple Music Streaming Worldwide Cyprus, Greece, Audible Magic Content ID Malaysia & Poland AWA Streaming Japan Beatport Download Worldwide BMAT Vericast Content ID Worldwide Africa, Asia & Boomplay Music Streaming Middle East. BPI Anti Piracy Content ID United Kingdom Download and Bugs South Korea Streaming Download and Claro Musica South America Streaming Deezer Streaming Worldwide Deedo Streaming Africa Equal FM Streaming Facebook Social media Worldwide Downloads and Google Play Worldwide Streaming Audio Gracenote Information US Service Hi Res Audio Downloads Germany iHeart Radio All Access Internet Radio US iHeart Radio All Access Internet Radio US Plus iHeart Radio Internet Radio US Download and iMusica Brazil Streaming Instagram Social Media Worldwide iTunes Download Worldwide JioSaavn Streaming India Juno Download Worldwide Me Playlist Streaming Nigeria, Ghana, Monking Me Streaming Kenya, Uganda, Tanzania, South Downloads and Africa, Zimbabwe, Mdundo Streaming UK, North America. LATAM, US, Spain, Dreamscope Media Group Ltd. Music Distribution Channels Page 1 of 5 Stores Store Type Territory Provider Audio Music Reports Information Worldwide Service US, Canada, Austria, Belgium, Finland, France, Germany, Ireland, Italy, Luxembourg, Netherlands, Norway, Portugal, Spain, Sweden, Napster Streaming -
Music Publishing's Biggest Challenges Laid Bare
ISSUE 376 | 14 OCTOBER 2015 Contents 06 Beyond Music – thereport Twitter’s growing pains 07 Pinboard: Stats, deals, startups and more 09 Country profile: Chile Writing wrongs Music publishing’s biggest challenges laid bare 2 ISSUE 376 14.10.15 COVER FEATURE Music publishing’s biggest challenges Writing wrongs laid bare Recorded music and live tend to dominate the discussions around the music industry – one on the horns of navigating the transition from physical to digital and the other having enjoyed a long period of growth as online has yet to significantly disrupt its business. Within this, publishing can sometimes feel like an overlooked part of the equation. With that in mind, we spoke to those both in and around music publishing about what is helping them accelerate into the fast lane as well as what is grinding their gears. From metadata as both a payment and a discovery channel to wider licensing and regulatory issues, the coming year will be a bumpy one. iscovery through both metadata and LYRICS: FROM MAYHEM TO subtitles – or legal lyric translations – for 11 lyrics; streamlined royalty reporting THE ULTIMATE METADATA years,” he says. “Through that process and and payments; and the moving “With lyrics, it used to be a Wild West through working with LyricFind on licensing target of revenue displacement. scenario,” says Will Mills, chief revenue officer international indie publishers for legal lyrics DBased on detailed conversations music:)ally at LyricFind, on the early websites offering for the past five, I’ve had the opportunity has had with key companies in and around (often user-generated) lyrics. -
Universal Love: Wedding – Anthony Decurtis SIDE a SIDE B
Songs Reimagined” playfully upend a convention of love songs that is so enshrined that it often escapes our notice: the use of A REVOLUTION opposite sex pronouns. With rare exceptions, love songs have rested on the assumption that a man is singing to or about a woman, and vice versa. In certain genres, like folk music, women OF THE HEART were permitted to sing from a man’s perspective, but never the reverse. And gay songwriters have been known to avoid specific pronoun references so that “the love that dare not speak its name,” as Oscar Wilde put it, could find a voice, however muted. There can be no doubt: our country – and maybe the entire world But the performances here leave no doubt about the same-sex – is going through what can only be described as a revolution nature of the singer’s desire. Male and female singers have flipped of the heart. Every day brings new questions about the nature the pronouns in “She’s Funny That Way” before, but it takes Bob of our sexual identities and the boundaries of our gender roles. Dylan to lend the song a simmering, homoerotic heat. Ben Gibbard Notions that had seemed fixed for centuries are now subject of Death Cab for Cutie retains all the dreamy sweetness of the to exploration. Not simply what are suitable roles for men and Beatles’ original in his “And I Love Him.” Similarly, Kele Okereke of women; those categories have been shape-shifting for decades Bloc Party places his man on the lofty pedestal the Temptations now. -
Robert Lewis Ropa Wikipedia
Robert lewis ropa wikipedia Continue Ripley buys Robert Lewis and Barbados brands from El guila mi rcoles, June 04, 2008 Constance Hola Chamy Econom from Negocios Online, El Mercurio Tradicional company associated with Family Link to focus on representation and distribution brands. If the survey was done, maybe many Chileans would think that their Robert Lewis or BB2 jeans are aliens. But no. Famous brands present in major major stores are owned by the Chilean company Textil El guila. Until this week. Because he likes it to close the sale of her two star brands. Negotiations began more than six months ago when Ripley was approaching Textil El guila. The multi-store, controlled by the Calder n family, is seeking to strengthen its position in denim brands, given the onslaught of competitors. Falabella has Americano and Paris, with Foster. And while Ripley has his own brands, he misses the weight of BB2 in the women's middleweight segment. For high-rise stores it is good business to add brands to your portfolio. They get differentiation and stamp their labels on products imported from Asia at a low price, increasing their income. Guila, for its part, imported most of the jeans for the brand. For the same reason, a productive reduction plan has begun, given the intention of its owners - the Link family - to refocus their investments and stay in retail, but as distributors. To do this, aim to focus on the views you already have, in addition to adding new ones. Today they have an introduction to the Argentine children's clothing brand Mimo and Co., in addition to Hugo Boss.