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BMG Rights Management V. Cox Communications
BMG Rights Management (US)LLC et al v. Cox Enterprises, Inc. et al Doc. 703 IN THE UNITED STATES DISTRICT COURT FOR THE EASTERN DISTRICT OF VIRGINIA Alexandria Division __________________________________________ ) BMG RIGHTS MANAGEMENT (US) ) LLC, and ROUND HILL MUSIC LP, ) ) Civil No. 1:14-cv-1611 Plaintiffs, ) ) Hon. Liam O’Grady v. ) ) COX COMMUNICATIONS, INC., and ) COXCOM, LLC, ) ) Defendant s. ) __________________________________________) MEMORANDUM OPINION In this copyright action, the putative owners of more than 1,400 musical composition copyrights seek to hold Cox Communications, Inc. and Cox Com, LLC (collectively, “Cox”) contributorily and vicariously liable for alleged copyright infringement taking place over its high-speed internet service. At the close of extensive discovery, the parties cross-moved for summary judgment. Following oral argument, the Court issued an Order (Dkt. No. 675) granting in part and denying in part Plaintiffs’ Motion for Partial Summary Judgment (Dkt. No. 310) and denying Cox’s Motion for Summary Judgment (Dkt. No. 305) for the reasons stated in this memorandum opinion. I. Background Cox provides high-speed internet service to customers nationwide. Plaintiffs BMG Rights Management (US), LLC (“BMG”) and Round Hill Music LP are the putative owners or administrators of approximately 1,400 musical composition copyrights. Plaintiffs allege users of 1 Dockets.Justia.com Cox internet service employ BitTorrent, a type of peer-to-peer (“P2P”) file sharing, to illegally upload and download music files, thereby violating Plaintiffs’ exclusive rights. A. BitTorrent The innovation of P2P file sharing is that it allows “user’s computers [to] communicate directly with each other,” rather than through a central server. -
Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent. -
Bmi’S Response to the Department of Justice’S June 5, 2019 Request for Public Comments Concerning the Bmi and Ascap Consent Decrees
BMI’S RESPONSE TO THE DEPARTMENT OF JUSTICE’S JUNE 5, 2019 REQUEST FOR PUBLIC COMMENTS CONCERNING THE BMI AND ASCAP CONSENT DECREES August 9, 2019 Scott A. Edelman Stu Rosen Fiona A. Schaeffer John Coletta Atara Miller BROADCAST MUSIC, INC. MILBANK LLP 7 World Trade Center 55 Hudson Yards 250 Greenwich Street New York, NY 10001-2163 New York, NY 10007-0030 (212) 530-5000 (212) 220-3000 Broadcast Music, Inc. (“BMI”) submits these public comments in response to the request of the Antitrust Division of the Department of Justice (the “DOJ”) pursuant to its review of the consent decree in United States v. BMI, Civ. No. 64-Civ-3787 (the “Decree”). The DOJ initiated this public comment period as part of its ongoing initiative to review legacy antitrust judgments. BMI believes that the Decree has become an impediment to innovation and should be substantially modified, and ultimately terminated, to remove unnecessary restrictions that do not further a legitimate public interest and constrain BMI’s ability to best serve songwriters, composers, music publishers and music users. The Decree reflects an outdated model of antitrust enforcement by regulation. It imposes an inflexible contract structure and a judicial rate-setting process that are unresponsive to market needs, impede BMI (and other music industry participants) from adapting to changes in the marketplace, stifle innovation, and are unnecessary to preserve competition. Ending the perpetual regulation of BMI and the American Society of Composers, Authors, and Publishers (“ASCAP”) (and by extension, large swaths of the music industry) is long overdue. The music licensing marketplace and the modern antitrust framework for assessing competition in that marketplace are virtually unrecognizable from those that existed when the BMI and ASCAP consent decrees were initially entered in 1941. -
NOW That's What I Call Party Anthems – Label Copy CD1 01. Justin Bieber
NOW That’s What I Call Party Anthems – Label Copy CD1 01. Justin Bieber - What Do You Mean? (Justin Bieber/Jason Boyd/Mason Levy) Published by Bieber Time Publishing/Universal Music (ASCAP)/Poo BZ Inc./BMG Publishing (ASCAP)//Mason Levy Productions/Artist Publishing Group West (ASCAP). Produced by MdL & Justin Bieber. 2015 Def Jam Recordings, a division of UMG Recordings, Inc. Licensed from Universal Music Licensing Division. 02. Mark Ronson feat. Bruno Mars - Uptown Funk (Mark Ronson/Jeff Bhasker/Bruno Mars/Philip Lawrence/Devon Gallaspy/Nicholaus Williams/Lonnie Simmons/Ronnie Wilson/Charles Wilson/Rudolph Taylor/Robert Wilson) Published by Imagem CV/Songs of Zelig (BMI)/Way Above Music/Sony ATV Songs LLC (BMI)/Mars Force Songs LLC (ASCAP)/ZZR Music LLC (ASCAP)/Sony/ATV Ballad/TIG7 Publishing (BMI)/TrinLanta Publishing (BMI)/ Sony ATV Songs LLC (BMI)/ Songs Of Zelig (BMI)/ Songs of Universal, Inc (BMI)/Tragic Magic (BMI)/ BMG Rights Management (ASCAP) adm. by Universal Music Publishing/BMG Rights Management (U.S.) LLC/Universal Music Corp/New Songs Administration Limited/Minder Music. Produced by Mark Ronson, Jeff Bhasker & Bruno Mars. 2014 Mark Ronson under exclusive licence to Sony Music Entertainment UK Limited. Licensed courtesy of Sony Music Entertainment UK Limited. 03. OMI - Cheerleader (Felix Jaehn Remix radio edit) (Omar Pasley/Clifton Dillon/Mark Bradford/Sly Dunbar/Ryan Robert Dillon) Published by Ultra International Music Publishing/Coco Plum Music Publishing. Produced by Clifton "Specialist" Dillon & Omar 'OMI" Pasley. 2014 Ultra Records, LLC under exclusive license to Columbia Records, a Division of Sony Music Entertainment. Licensed courtesy of Sony Music Entertainment UK Limited. -
Oppdatert Liste Samarbeidspartnere 2017
OPPDATERT LISTE AV Pictures Calon Ltd SAMARBEIDSPARTNERE AWOL Animation Calpartners LLC B & B Company Cambium Catalyst International (CCI) 2017 Baby Cow Productions Candlelight Media Bandai Visual Co. Ltd Cannon Pictures 12 Yard Productions Banijay International Ltd Captured Light Distribution LLC 2929 Entertainment LLC Bankside Films Carey Films Ltd 360 Production Ltd Bard Entertainment Cargo Film & Releasing 3DD Entertainment Bardel Distribution Carnaby Sales and Distribution Ltd 9 Story Enterprises BBL Distribution Inc. Carrere Group D.A. A&E Channel Home Video BBP Music Publishing c/o Black Bear Carsey Werner LLC Abduction Films Ltd Pictures Carlton Film and Television Acacia Beacon Communications Carlton International media ACC Action Concept Cinema GmbH & Becker Group Ltd. Cartoon Network Co. KG Beijing Asian Union Culture and Media Cartoon One ACI Investment Caryn Mandabach Productions Acorn Group Bejuba Entertainment Casanova Multimedia ACORN GROUP INC Bell Phillip Television Productions Inc. Cascade Films Pty Ltd Acorn Media Benaroya Pictures Castle Hill Productions Actaeon Films Bend it Like Beckham Productions Cats and Docs SAS Action Concept Bentley Productions Cat’s on the Roof Action Concept Film und Berlin Animation Film Gmbh CCI Releasing Stuntproduktion GmbH Best Film and Video CDR Communications Action Image GmbH & Co. KG Best Picture Show Celador Productions Adness Entertainment Co. Ltd. Betty TV Celestial Filmed Entertainment Ltd. Adult Swim Productions Beyond International Ltd Celluloid Dreams After Dark Films Big Bright House of Tunes Celsius Entertainment Agatha Christie Production Ltd Big Idea Entertainment Celsius Film Sales Ager Film Big Light Productions Central Independent Television AIM Group LLC. Big Talk Productions Central Park Media Akkord Film Produktion GmBH Billy Graham Evangelistic Association / Channel 4 Learning Alain Siritzky Productions World Wide Pictures Chapter 2 Alameda Films Bio Channel Chatsworth Enterprises Albachiara S.r.l. -
Dmca Safe Harbors: an Analysis of the Statute and Case Law
DMCA SAFE HARBORS: AN ANALYSIS OF THE STATUTE AND CASE LAW Excerpted from Chapter 4 (Copyright Protection in Cyberspace) from the April 2020 updates to E-Commerce and Internet Law: Legal Treatise with Forms 2d Edition A 5-volume legal treatise by Ian C. Ballon (Thomson/West Publishing, www.IanBallon.net) Ian C. Ballon Greenberg Traurig, LLP Silicon Valley: Los Angeles: 1900 University Avenue, 5th Fl. 1840 Century Park East, Ste. 1900 East Palo Alto, CA 914303 Los Angeles, CA 90067 Direct Dial: (650) 289-7881 Direct Dial: (310) 586-6575 Direct Fax: (650) 462-7881 Direct Fax: (310) 586-0575 [email protected] <www.ianballon.net> LinkedIn, Twitter, Facebook: IanBallon This paper has been excerpted from E-Commerce and Internet Law: Treatise with Forms 2d Edition (Thomson West April 2020 Annual Update), a 5-volume legal treatise by Ian C. Ballon, published by West, (888) 728-7677 www.ianballon.net Ian C. Ballon Silicon Valley 1900 University Avenue Shareholder 5th Floor Internet, Intellectual Property & Technology Litigation East Palo Alto, CA 94303 T 650.289.7881 Admitted: California, District of Columbia and Maryland F 650.462.7881 Second, Third, Fourth, Fifth, Seventh, Ninth, Eleventh and Federal Circuits Los Angeles U.S. Supreme Court 1840 Century Park East JD, LLM, CIPP/US Suite 1900 Los Angeles, CA 90067 [email protected] T 310.586.6575 LinkedIn, Twitter, Facebook: IanBallon F 310.586.0575 Ian C. Ballon is Co-Chair of Greenberg Traurig LLP’s Global Intellectual Property & Technology Practice Group and represents companies in intellectual property litigation (including copyright, trademark, trade secret, patent, right of publicity, DMCA, domain name, platform defense, fair use, CDA and database/screen scraping) and in the defense of data privacy, cybersecurity breach and TCPA class action suits. -
Annual Report 2015 (Financial Information)
Annual Report 2015 At a Glance Key Figures (IFRS) in € millions 2015 2014 2013 2012 2011 Business Development Group revenues 17,141 16,675 16,179 16,065 15,368 Operating EBITDA 2,485 2,374 2,311 2,210 2,243 EBITDA margin in percent1) 14.5 14.2 14.3 13.8 14.6 Bertelsmann Value Added (BVA)2) 155 188 283 362 359 Group profit 1,108 572 885 612 612 Investments3) 1,259 1,578 1,312 655 956 Consolidated Balance Sheet Equity 9,434 8,380 8,761 6,083 6,149 Equity ratio in percent 41.2 38.9 40.9 32.2 33.9 Total assets 22,908 21,560 21,418 18,864 18,149 Net financial debt 2,765 1,689 681 1,218 1,809 Economic debt4) 5,609 6,039 4,216 4,773 4,913 Leverage factor 2.4 2.7 2.0 2.3 2.4 Dividends to Bertelsmann shareholders 180 180 180 180 180 Distribution on profit participation certificates 44 44 44 44 44 Employee profit sharing 95 85 101 92 107 Figures adjusted for the financial year 2014; figures before 2014 are the most recently reported previous year’s figures. Rounding may result in minor variations in the calculation of percentages in this report. 1) Operating EBITDA as a percentage of revenues. 2) Bertelsmann uses BVA as a strictly defined key performance indicator to evaluate the profitability of the operating business and the return on investment. 3) Taking into account the financial debt assumed, investments amounted to €1,281 million (2014: €1,601 million). -
How Copyright Law May Affect Pop Music Without Our Knowing It
Texas A&M University School of Law Texas A&M Law Scholarship Faculty Scholarship 12-2014 How Copyright Law May Affect Pop Music without Our Knowing It Peter K. Yu [email protected] Follow this and additional works at: https://scholarship.law.tamu.edu/facscholar Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Peter K. Yu, How Copyright Law May Affect Pop Music without Our Knowing It, 83 UMKC L. Rev. 363 (2014). Available at: https://scholarship.law.tamu.edu/facscholar/405 This Article is brought to you for free and open access by Texas A&M Law Scholarship. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Texas A&M Law Scholarship. For more information, please contact [email protected]. HOW COPYRIGHT LAW MAY AFFECT POP MUSIC WITHOUT OUR KNOWING IT Peter K. Yu* I. INTRODUCTION When copyright law is linked to the creation of music-the focus of this Symposium-interesting questions arise. In the context of classical music, for example, why could Johann Sebastian Bach "recycle" in his Concerto for Four Harpsichords the opening phrase in Antonio Vivaldi's Concerto for Four Violins, Strings and Harpsichord Continuo?' Why could Peter Ilyich Tchaikovsky include in his 1812 Overture repetitive fragments of La Marseillaise and the anthem God Save the Tsar! to portray the clash between the French and Russian armies?2 Would copyright protection in musical works help Wolfgang Amadeus Mozart avoid poverty and the fate of dying penniless? Or would such protection instead lead him to behave more like Johannes Brahms and Giuseppe Verdi, whose creativity slowed down significantly following the introduction of copyright protection?3 * Copyright © 2014 Peter K. -
2020 Financial Statements for Bertelsmann SE & Co. Kgaa
Financial Statements and Combined Management Report Bertelsmann SE & Co. KGaA, Gütersloh December 31, 2020 Contents Balance sheet Income statement Notes to the financial statements Combined Management Report Responsibility Statement Auditor’s report 1 FINANCIAL STATEMENTS Assets as of December 31, 2020 in € millions Notes 12/31/2020 12/31/2019 Non-current assets Intangible assets Acquired industrial property rights and similar rights as well as licenses to such rights 1 9 8 9 8 Tangible assets Land, rights equivalent to land and buildings 1 306 311 Technical equipment and machinery 1 1 1 Other equipment, fixtures, furniture and office equipment 1 42 47 Advance payments and construction in progress 1 7 2 356 361 Financial assets Investments in affiliated companies 1 15,974 14,960 Loans to affiliated companies 1 230 712 Investments 1 - - Non-current securities 1 1,461 1,252 17,665 16,924 18,030 17,293 Current assets Receivables and other assets Accounts receivable from affiliated companies 2 4,893 4,392 Other assets 2 94 148 4,987 4,540 Securities Other securities - - Cash on hand and bank balances 3 2,476 513 7,463 5,053 Prepaid expenses and deferred charges 4 20 20 25,513 22,366 2 Equity and liabilities as of December 31, 2020 in € millions Notes 12/31/2020 12/31/2019 Equity Subscribed capital 5 1,000 1,000 Capital reserve 2,600 2,600 Retained earnings Legal reserve 100 100 Other retained earnings 6 5,685 5,485 5,785 5,585 Net retained profits 898 663 10,283 9,848 Provisions Provisions for pensions and similar obligations 7 377 357 Provision -
2013 Financial Statements for Bertelsmann SE & Co. Kgaa
ANNUAL FINANCIAL STATEMENTS AS OF DECEMBER 31, 2013, AND MANAGEMENT REPORT BERTELSMANN SE & CO. KGaA, GÜTERSLOH (Translation – the German text is authorative) Annual financial statements 2013 Contents Balance sheet Income statement Notes “List of shareholdings” annex to the notes in accordance with HGB 285 (11) Management report Auditor’s report Responsibility statement 2 Annual financial statements 2013 Bertelsmann SE & Co. KGaA Balance sheet as of December 31, 2013 Assets 12/31/2013 Previous year Notes € € € millions Non-current assets Intangible assets (1) 844,280.30 1 Tangible assets (2) 291,216,329.92 237 Financial assets (3) 12,747,359,728.83 11,404 13,039,420,339.05 11,642 Current assets Receivables and other assets (4) 1,736,575,805.91 913 Securities 1.00 - Cash and cash equivalents (5) 1,425,121,750.94 1,612 3,161,697,557.85 2,525 Prepaid expenses and deferred charges (6) 12,218,335.49 15 16,213,336,232.39 14,182 Shareholders’ equity and liabilities 12/31/2013 Previous year Notes € € € millions Shareholders’ equity Subscribed capital (7) 1,000,000,000.00 1,000 Capital reserve 2,600,000,000.00 2,600 Retained earnings (8) 3,662,000,000.00 2,462 Unappropriated income 1,189,896,716.49 862 8,451,896,716.49 6,924 Provisions Pensions and similar obligations (9) 244,299,057.00 235 Other provisions (10) 117,124,440.50 99 361,423,497.50 334 Financial debt (11) 3,506,024,666.89 3,790 Other liabilities (12) 3,893,702,490.50 3,132 Deferred income (13) 288,861,01 2 16,213,336,232.39 14,182 3 Annual financial statements 2013 Bertelsmann SE & Co. -
Determination of Merger Notification M/10/045
DETERMINATION OF MERGER NOTIFICATION M/10/045 - BMG/Chrysalis Section 21 of the Competition Act 2002 Proposed acquisition by BMG RM Investments Luxembourg S.a.r.l. of Chrysalis plc. Dated 18 January 2010 Introduction 1. On 20 December 2010, in accordance with section 18 of the Competition Act 2002 (the “Act”), the Competition Authority (the “Authority”) received a notification of a proposed transaction whereby BMG RM Investments Luxembourg S.a.r.l. (“BMG”) would acquire, through its wholly-owned subsidiary Forte Bidco 1 Limited, sole control of Chrysalis plc (“Chrysalis”). The Undertakings Involved The Acquirer 2. BMG is an international group of companies active in music publishing 1 and recorded music 2. 3. BMG has a licensing arrangement with Sony Music Entertainment UK Limited (“Sony”) for the exploitation of BMG’s recorded music rights in relation to certain music catalogues in the State. Effectively this means that Sony collects royalties from the Irish collecting societies 3 in relation to this music catalogue. 4 The revenue generated by BMG in relation to this licensing arrangement is considered by BMG as turnover generated in the United Kingdom. 4. BMG had a similar licensing arrangement with Kobalt Music Group (“Kobalt”) in relation to BMG’s music publishing rights 5 that expired on 1 The European Commission (the “Commission”) has defined music publishing as the exploitation of intellectual property rights of song writers [ Case M4404 Universal/BMG Music Publishing paragraph 12]. Furthermore, the Commission has stated that: “the activities of a music publisher are two-fold (i) the downstream activity of exploiting the works of authors under contract; and (ii) an upstream activity of signing authors and providing them with financial and marketing support as a counterpart to the transfer of their musical works” [ Case M.5533 Bertlesmann/KKR/JV paragraph 31]. -
Hamilton Credits 51Acd41a.Pdf
CAST Marquis de Lafayette/Thomas Jefferson . DAVEED DIGGS Angelica Schuyler . .. RENÉE ELISE GOLDSBERRY King George . JONATHAN GROFF George Washington . .. CHRISTOPHER JACKSON Peggy Schuyler/Maria Reynolds . JASMINE CEPHAS JONES Alexander Hamilton . LIN-MANUEL MIRANDA Aaron Burr . LESLIE ODOM, JR . Hercules Mulligan/James Madison . OKIERIETE ONAODOWAN John Laurens/Philip Hamilton . ANTHONY RAMOS Eliza Hamilton . PHILLIPA SOO Ensemble . CARLEIGH BETTIOL Ensemble . ARIANA DEBOSE Ensemble . HOPE EASTERBROOK Philip Schuyler/James Reynolds/ Doctor/Ensemble . SYDNEY JAMES HARCOURT Ensemble . SASHA HUTCHINGS Samuel Seabury/Ensemble . THAYNE JASPERSON Ensemble . ELIZABETH JUDD Charles Lee/Ensemble . JON RUA Ensemble . AUSTIN SMITH Ensemble . SETH STEWART George Eacker/Ensemble . EPHRAIM SYKES Scenic Design . DAVID KORINS Costume Design . PAUL TAZEWELL Lighting Design . HOWELL BINKLEY Sound Design . NEVIN STEINBERG Hair and Wig Design . CHARLES G . LAPOINTE Casting . BERNARD TELSEY, CSA BETHANY KNOX, CSA Filming Produced by RADICALMEDIA Co-Producer . CHRIS ROUCHARD Edited By . JONAH MORAN Directed by . THOMAS KAIL Director Of Photography . DECLAN QUINN Book, Music and Lyrics by . LIN-MANUEL MIRANDA Inspired by the Book Alexander Hamilton by . RON CHERNOW Executive Producers . JON KAMEN Produced by . THOMAS KAIL DAVE SIRULNICK LIN-MANUEL MIRANDA JUSTIN WILKES JEFFREY SELLER Unit Production Manager . DAVID BACKUS Executive Producers . SANDER JACOBS First Assistant Director . ROBIN ABRAMS JILL FURMAN Second Assistant Director . THOMAS GAITO Originally Directed for the Stage by . THOMAS KAIL Production Supervisor . NAN MARIE SANDLE Originally Produced for the Stage by . .. JEFFREY SELLER SANDER JACOBS Assistant Production Supervisor . SOPHIA LEANG JILL FURMAN Music Coordinators . MICHAEL KELLER and THE PUBLIC THEATER MICHAEL AARONS Music Copyists . .. EMILY GRISHMAN MUSIC PREPARATION Choreography by . ANDY BLANKENBUEHLER KATHARINE EDMONDS Music Supervision and ADRIANA N .