7Digital Group Plc (“7Digital”, “The Group” Or “The Company”)
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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. -
Openness in the Music Business– How Record Labels and Artists May Profit from Reducing Control
Table of Contents TECHNISCHE UNIVERSITÄT MÜNCHEN Dr. Theo Schöller-Stiftungslehrstuhl für Technologie- und Innovationsmanagement Openness in the music business– How record labels and artists may profit from reducing control Johannes L. Wechsler Vollständiger Abdruck der von der Fakultät für Wirtschaftswissenschaften der Technischen Universität München zur Erlangung des akademischen Grades eines Doktors der Wirtschaftswissenschaften (Dr. rer. pol.) genehmigten Dissertation. Vorsitzender: Univ.-Prof. Dr. I. Welpe Prüfer der Dissertation: 1. Univ.-Prof. Dr. J. Henkel 2. Univ.-Prof. Dr. F. v. Wangenheim Die Dissertation wurde am 09.12.2010 bei der Technischen Universität München eingereicht und durch die Fakultät für Wirtschaftswissenschaften am 11.05.2011 angenommen. i Table of Contents Table of Contents DETAILED TABLE OF CONTENTS .................................................................................................... II LIST OF FIGURES .................................................................................................................................. V LIST OF TABLES ................................................................................................................................. VII LIST OF ABBREVIATIONS..................................................................................................................IX ABSTRACT..............................................................................................................................................XI 1 INTRODUCTION ...................................................................................................................... -
The Dynamics of Legal and Illegal Digital Music Distribution Christian Syvertsen
Master thesis The dynamics of legal and illegal digital music distribution Christian Syvertsen 1 Preface This paper was written as a Master thesis in Informatics for Christian Syvertsen at the University of Oslo. The Master studies were started spring 2005, and the thesis is to be delivered November 2007. This Master thesis has been realized at the department of Information Systems at the Institute of Informatics at the University of Oslo, with great assistance and advice by supervisors Jennifer Blechar and Ole Hanseth. November 2007 University of Oslo, Department of Informatics Page 2 of 86 Master thesis The dynamics of legal and illegal digital music distribution Christian Syvertsen 2 Abstract In this thesis I give an overview and background of the current digital music landscape, analyse it through Actor Network Theory and see the complexity of the network as making it difficult to break down into less holistic parts. Every part of the network influences the other. As illegal downloads of illegally copyrighted music only increases, it seems apparent that the record industry have taken a wrong strategy. Copyright laws have been tightened, DRM systems have been applied and lawsuits have been made, but it seems that it has no decreasing effect on the illegal downloads. I believe what the record companies must to is to put more efforts into making a better legal music download service, that actually can offer a better product than the P2P networks, because then increasing numbers of users will prefer that legal alternative. But for something like this to be achieved, there is a long way to go. -
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. -
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. -
Chapter: Music Recommender Systems
Chapter 13 Music Recommender Systems Markus Schedl, Peter Knees, Brian McFee, Dmitry Bogdanov, and Marius Kaminskas 13.1 Introduction Boosted by the emergence of online music shops and music streaming services, digital music distribution has led to an ubiquitous availability of music. Music listeners, suddenly faced with an unprecedented scale of readily available content, can easily become overwhelmed. Music recommender systems, the topic of this chapter, provide guidance to users navigating large collections. Music items that can be recommended include artists, albums, songs, genres, and radio stations. In this chapter, we illustrate the unique characteristics of the music recommen- dation problem, as compared to other content domains, such as books or movies. To understand the differences, let us first consider the amount of time required for ausertoconsumeasinglemediaitem.Thereisobviouslyalargediscrepancyin consumption time between books (days or weeks), movies (one to a few hours), and asong(typicallyafewminutes).Consequently,thetimeittakesforausertoform opinions for music can be much shorter than in other domains, which contributes to the ephemeral, even disposable, nature of music. Similarly, in music, a single M. Schedl (!)•P.Knees Department of Computational Perception, Johannes Kepler University Linz, Linz, Austria e-mail: [email protected]; [email protected] B. McFee Center for Data Science, New York University, New York, NY, USA e-mail: [email protected] D. Bogdanov Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain e-mail: [email protected] M. Kaminskas Insight Centre for Data Analytics, University College Cork, Cork, Ireland e-mail: [email protected] ©SpringerScience+BusinessMediaNewYork2015 453 F. Ricci et al. (eds.), Recommender Systems Handbook, DOI 10.1007/978-1-4899-7637-6_13 454 M. -
2015: What's Next?
ISSUE 357 | 07 JANUARY 2015 Contents thereport 05 Beyond music: The Interview 06 Pinboard: Stats, deals, startups and more 2015: what’s next? 08 Country profile: Ireland The trends that will define digital music over the next 12 months 2 ISSUE 357 07.01.15 COVER FEATURE BEATS FINALLY MAKES GLOBAL WAVES Apple’s proper move into streaming music didn’t come with the launch of iTunes Radio – or even with its $3bn acquisition of Beats. It’s the upcoming relaunch of Beats Music that will really show us Apple’s ambitions to dominate the transition from downloads to streams. Veteran Apple watchers will have been smiling at the strategic leaks in recent months of the company’s plans – from its desire to lower the price of a monthly streaming subscription to as little as $5 to its negotiations with artists for exclusive deals on big albums. Apple has the clout to trigger a streaming- music price war as well as a wallet-laden battle for exclusives – it comfortably has the biggest wallet, obviously – as well as the What’s next? device footprint to push a free trial of Beats to hundreds of millions of phones, tablets and Happy New Year and all that, but will 2015 be joyful for the music computers worldwide. Beats Music reportedly The trends industry? It’s shaping up as a crucial period for many reasons ended 2014 with 300k subscribers; place your bets now on what multiple of that it’ll have by that will – from identifying the long-term winners in the streaming market the end of 2015. -
Rewind: 2012 in Review
the REPORT Issue 308 | 19 December 2012 Contents: PAGE 2: Artists versus digital services » PAGE 3: Fans as the fulcrum » PAGE 4: Labels in 2012 » PAGE 5: Tech giants » PAGE 6: New services » PAGES 7 – 9: Rewind: 2012 In Review Startups » PAGE 10: Digital marketing » PAGE 11: Social music » PAGE 12: Measurements » PAGE 13: Piracy battles » PAGES 14 & 15: Country profiles » REWIND: 2012 IN REVIEW the REPORT | 19 December 2012 | Page 2 Artists versus digital services It’s become a cliché in recent be portrayed as a greedy Goliath itself by digital ecosystem. prominent songwriters. High-profile albums years to suggest that the were withheld from There were many negative aspects to these streaming services, connection between artists debates in 2012, with name-calling, willful often to the barely- and fans is the fulcrum of misunderstanding and a concerning lack concealed frustration of transparency making for an unhealthy the music industry, with of their labels. mixture. everyone else a middleman Yet artists were Yet a more positive take on 2012 would be to pushing the who needs to justify their mark the importance of having artists and boundaries too, position in the value chain. songwriters take a more prominent role in the seeking new models. debates around new digital music business Usually it’s labels fielding the most criticism Whether it’s Cazzette models. under that line of argument, but in 2012 the launching their career spotlight turned to the current generation of As FAC co-CEO Crispin Hunt noted in Music on Spotify, DJ Shadow streaming music services, with Spotify and Ally’s end-of-year debate: “As the digital releasing a BitTorrent Pandora taking the brunt of the attacks. -
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. -
Download the Music Market Access Report Canada
CAAMA PRESENTS canada MARKET ACCESS GUIDE PREPARED BY PREPARED FOR Martin Melhuish Canadian Association for the Advancement of Music and the Arts The Canadian Landscape - Market Overview PAGE 03 01 Geography 03 Population 04 Cultural Diversity 04 Canadian Recorded Music Market PAGE 06 02 Canada’s Heritage 06 Canada’s Wide-Open Spaces 07 The 30 Per Cent Solution 08 Music Culture in Canadian Life 08 The Music of Canada’s First Nations 10 The Birth of the Recording Industry – Canada’s Role 10 LIST: SELECT RECORDING STUDIOS 14 The Indies Emerge 30 Interview: Stuart Johnston, President – CIMA 31 List: SELECT Indie Record Companies & Labels 33 List: Multinational Distributors 42 Canada’s Star System: Juno Canadian Music Hall of Fame Inductees 42 List: SELECT Canadian MUSIC Funding Agencies 43 Media: Radio & Television in Canada PAGE 47 03 List: SELECT Radio Stations IN KEY MARKETS 51 Internet Music Sites in Canada 66 State of the canadian industry 67 LIST: SELECT PUBLICITY & PROMOTION SERVICES 68 MUSIC RETAIL PAGE 73 04 List: SELECT RETAIL CHAIN STORES 74 Interview: Paul Tuch, Director, Nielsen Music Canada 84 2017 Billboard Top Canadian Albums Year-End Chart 86 Copyright and Music Publishing in Canada PAGE 87 05 The Collectors – A History 89 Interview: Vince Degiorgio, BOARD, MUSIC PUBLISHERS CANADA 92 List: SELECT Music Publishers / Rights Management Companies 94 List: Artist / Songwriter Showcases 96 List: Licensing, Lyrics 96 LIST: MUSIC SUPERVISORS / MUSIC CLEARANCE 97 INTERVIEW: ERIC BAPTISTE, SOCAN 98 List: Collection Societies, Performing -
IFPI Digital Music Report 2013 Engine of a Digital World
IFPI Digital Music Report 2013 Engine of a digital world 9 IN 10 MOST LIKED PEOPLE ON FACEBOOK ARE ARTISTS 9 IN 10 OF THE MOST WATCHED VIDEOS ON YOUTUBE ARE MUSIC 7 IN 10 MOST FOLLOWED TWITTER USERS ARE ARTISTS Deezer4artists-HD_acl.pdf 1 26/02/13 17:37 2 Contents Introduction 4-5 Music is an engine of the digital world 22-23 g Plácido Domingo, chairman, IFPI g Fuelling digital engagement g Frances Moore, chief executive, IFPI g Fuelling hardware adoption g Driving the live entertainment industry An industry on the road to recovery: g Attracting customers, driving profits Facts and figures 6-10 Going global: the promise of emerging markets 24-27 Global best sellers 11-13 g Brazil: A market set to surge g Top selling albums g Russia: Hurdles to growth can be overcome g Top selling singles g India: Nearing an all-time high g Strong local repertoire sales g Strong market potential in The Netherlands Digital music fuels innovation 14-17 Engaging with online intermediaries 28-30 g Download stores receive a boost from the cloud g Advertising: tackling a major source of funding for music piracy g Subscription services come of age g Search engines – a vital role to play g Subscription transforming the industry’s business model g Further ISP cooperation needed g Growth for music video g Payment providers step up action on illegal sites g The next generation radio experience g Europe: Licensing helps digital consumers Disrupting illegal online businesses 31 The art of digital marketing 18-21 g Disrupting unlicensed cyberlockers g Reducing pre-release leaks g One Direction mobilise an online army g Dance label harnesses social media Digital music services worldwide 32-34 g A personal video for every fan: Linkin Park g Taking classical digital Cover photo credits: Michel Teló. -
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.