Deezer SA Limited Liability Company
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
An N U Al R Ep O R T 2018 Annual Report
ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1. -
The Limitation of Copyright and Patents by the Rules for the Free Movement of Goods in the European Common Market Valentine Korah
Case Western Reserve Journal of International Law Volume 14 | Issue 1 1982 The Limitation of Copyright and Patents by the Rules for the Free Movement of Goods in the European Common Market Valentine Korah Follow this and additional works at: https://scholarlycommons.law.case.edu/jil Part of the International Law Commons Recommended Citation Valentine Korah, The Limitation of Copyright and Patents by the Rules for the Free Movement of Goods in the European Common Market, 14 Case W. Res. J. Int'l L. 7 (1982) Available at: https://scholarlycommons.law.case.edu/jil/vol14/iss1/3 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Journal of International Law by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. ARTICLES The Limitation of Copyright and Patents by the Rules for the Free Movement of Goods in the European Common Market by Valentine Korah*t I. THE EEC CONSTrrUTION n 1957, six European States - France, Italy, West Germany, Belgium, Luxembourg and the Netherlands - established the European Eco- nomic Community (EEC).1 The EEC signed and ratified the Treaty of Rome ('the Treaty') which was based on the foundations of the Commu- nity: the free movement of goods, persons, services and capital.2 These rules have been generously interpreted by the Court of Justice of the Eu- ropean Communities ('the Court' or 'the Community Court') since they give effect to the basic principles of the Common Market. -
MTV Music Group and Warner Music Group Form Industry-Leading Partnership
MTV Music Group and Warner Music Group Form Industry-Leading Partnership Combines the Power of MTV Music Group's Compelling Content Across Multiple Screens, Marketing & Ad Sales Expertise With WMG's Expansive Library and Stellar Roster of Artists NEW YORK, June 30, 2010 /PRNewswire via COMTEX/ -- MTV Networks, a division of Viacom Inc. (NYSE: VIA and VIA.B), and one of the world's leading creators of television and digital entertainment, and Warner Music Group Corp. (NYSE: WMG), one the world's premier music companies, have announced a broad-reaching, multi-year partnership that strengthens MTV Music Group's leadership position in the digital music category while expanding WMG's artist-centered video strategy. The agreement also offers one-stop shopping for advertising inventory around the industry's most comprehensive source of music-related programming and music videos. MTV Music Group will now have the exclusive right to sell advertising inventory around WMG premium music video content in the U.S. across MTV Music Group digital properties and mobile services, as well as on WMG's growing network of proprietary artist sites and third-party affiliate sites. As part of the deal, WMG's video views will now be counted as part of MTV Music Group's. Through this new partnership, WMG artists will have multiple ways to reach MTVN's hyper-connected audience across its flagship music franchises, covering multiple genres and platforms such as MTV's Emmy Award winning Unplugged series, VH1's Behind the Music and CMT's Crossroads. "At WMG our highest priority is to keep the artists at the center of everything we do, and this alliance enables us to offer our artists the marketing and sales firepower of the world's most widely-recognized and highly-trafficked music destinations to help them drive revenue from their video content, on the artist's own site, as well as through the many other places that fans access their music," said Lyor Cohen, Vice Chairman and Chairman and CEO, Recorded Music - Americas and the U.K., WMG. -
Smart Speakers & Their Impact on Music Consumption
Everybody’s Talkin’ Smart Speakers & their impact on music consumption A special report by Music Ally for the BPI and the Entertainment Retailers Association Contents 02"Forewords 04"Executive Summary 07"Devices Guide 18"Market Data 22"The Impact on Music 34"What Comes Next? Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on the potential of smart speakers for artists 1 and the music industry Forewords Kim Bayley, CEO! Geoff Taylor, CEO! Entertainment Retailers Association BPI and BRIT Awards Music began with the human voice. It is the instrument which virtually Smart speakers are poised to kickstart the next stage of the music all are born with. So how appropriate that the voice is fast emerging as streaming revolution. With fans consuming more than 100 billion the future of entertainment technology. streams of music in 2017 (audio and video), streaming has overtaken CD to become the dominant format in the music mix. The iTunes Store decoupled music buying from the disc; Spotify decoupled music access from ownership: now voice control frees music Smart speakers will undoubtedly give streaming a further boost, from the keyboard. In the process it promises music fans a more fluid attracting more casual listeners into subscription music services, as and personal relationship with the music they love. It also offers a real music is the killer app for these devices. solution to optimising streaming for the automobile. Playlists curated by streaming services are already an essential Naturally there are challenges too. The music industry has struggled to marketing channel for music, and their influence will only increase as deliver the metadata required in a digital music environment. -
Financing Music Labels in the Digital Era of Music: Live Concerts and Streaming Platforms
\\jciprod01\productn\H\HLS\7-1\HLS101.txt unknown Seq: 1 28-MAR-16 12:46 Financing Music Labels in the Digital Era of Music: Live Concerts and Streaming Platforms Loren Shokes* In the age of iPods, YouTube, Spotify, social media, and countless numbers of apps, anyone with a computer or smartphone readily has access to millions of hours of music. Despite the ever-increasing ease of delivering music to consumers, the recording industry has fallen victim to “the disease of free.”1 When digital music was first introduced in the late 1990s, indus- try experts and insiders postulated that it would parallel the introduction and eventual mainstream acceptance of the compact disc (CD). When CDs became publicly available in 1982,2 the music industry experienced an un- precedented boost in sales as consumers, en masse, traded in their vinyl records and cassette tapes for sleek new compact discs.3 However, the intro- duction of MP3 players and digital music files had the opposite effect and the recording industry has struggled to monetize and profit from the digital revolution.4 The birth of the file sharing website Napster5 in 1999 was the start of a sharp downhill turn for record labels and artists.6 Rather than pay * J.D. Candidate, Harvard Law School, Class of 2017. 1 See David Goldman, Music’s Lost Decade: Sales Cut in Half, CNN Money (Feb. 3, 2010), available at http://money.cnn.com/2010/02/02/news/companies/napster_ music_industry/. 2 See The Digital Era, Recording History: The History of Recording Technology, available at http://www.recording-history.org/HTML/musicbiz7.php (last visited July 28, 2015). -
Henri Lefebvre and the Production of Music Streaming Spaces (Doi: 10.2383/82481)
Il Mulino - Rivisteweb Robert Prey Henri Lefebvre and the Production of Music Streaming Spaces (doi: 10.2383/82481) Sociologica (ISSN 1971-8853) Fascicolo 3, settembre-dicembre 2015 Ente di afferenza: () Copyright c by Societ`aeditrice il Mulino, Bologna. Tutti i diritti sono riservati. Per altre informazioni si veda https://www.rivisteweb.it Licenza d’uso L’articolo `emesso a disposizione dell’utente in licenza per uso esclusivamente privato e personale, senza scopo di lucro e senza fini direttamente o indirettamente commerciali. Salvo quanto espressamente previsto dalla licenza d’uso Rivisteweb, `efatto divieto di riprodurre, trasmettere, distribuire o altrimenti utilizzare l’articolo, per qualsiasi scopo o fine. Tutti i diritti sono riservati. Symposium / Other Senses of Place: Socio-Spatial Practices in the Contemporary Media Environment, edited by Federica Timeto Henri Lefebvre and the Production of Music Streaming Spaces by Robert Prey doi: 10.2383/82481 Human reasoning is innately spatial. [W]e are embodied, situated beings, who comprehend even disembodied commu- nications through the filter of embodied, situated experience [Cohen 2007, 213]. This appears to be why we constantly invoke place- and space-based metaphors to describe our online experiences. We visit a website; we join a virtual community in cyberspace, etc. However, to take the spatiality of “cyberspace” for granted is to forfeit any critical questioning of precisely how and why this network of networks has been spatialized. As Christian Schmid puts it, space ‘in itself’ can never serve as an epistemological starting position. Space does not exist ‘in itself’; it is produced [2008, 28]. This is where turning to the late French philosopher Henri Lefebvre becomes particularly useful. -
Heos CLI Protocol Specification Version 1 16
HEOS CLI Protocol Specification 1. Overview 1.1 Supported music services 2. Connection 2.1 Controller Design Guidelines 2.1.1 Driver Initialization 2.1.2 Caveats 2.1.2.1 Compatibility 2.1.2.2 Issues & Solutions 2.1.3 Miscellaneous 3. Command and Response Overview 3.1 Commands 3.2 Responses 4. Command and Response Details 4.1 System Commands 4.1.1 Register for Change Events 4.1.2 HEOS Account Check 4.1.3 HEOS Account Sign In 4.1.4 HEOS Account Sign Out 4.1.5 HEOS System Heart Beat 4.1.6 HEOS Speaker Reboot 4.1.7 Prettify JSON response 4.2 Player Commands 4.2.1 Get Players 4.2.2 Get Player Info 4.2.3 Get Play State 4.2.4 Set Play State 4.2.5 Get Now Playing Media 4.2.6 Get Volume 4.2.7 Set Volume 4.2.8 Volume Up 4.2.9 Volume Down 4.2.10 Get Mute 4.2.11 Set Mute 4.2.12 Toggle Mute 4.2.13 Get Play Mode 4.2.14 Set Play Mode 4.2.15 Get Queue 4.2.16 Play Queue Item 4.2.17 Remove Item(s) from Queue 4.2.18 Save Queue as Playlist 4.2.19 Clear Queue 4.2.20 Move Queue 4.2.21 Play Next 4.2.22 Play Previous 4.2.23 Set QuickSelect [LS AVR Only] 4.2.24 Play QuickSelect [LS AVR Only] 4.2.25 Get QuickSelects [LS AVR Only] 4.2.26 Check for Firmware Update 4.3 Group Commands 4.3.1 Get Groups 4.3.2 Get Group Info 4.3.3 Set Group 4.3.4 Get Group Volume 4.3.5 Set Group Volume 4.2.6 Group Volume Up 4.2.7 Group Volume Down 4.3.8 Get Group Mute 4.3.9 Set Group Mute 4.3.10 Toggle Group Mute 4.4 Browse Commands 4.4.1 Get Music Sources 4.4.2 Get Source Info 4.4.3 Browse Source 4.4.4 Browse Source Containers 4.4.5 Get Source Search Criteria 4.4.6 Search 4.4.7 Play Station 4.4.8 Play Preset Station 4.4.9 Play Input source Limitations for the system when used multi devices. -
Beats (Review)
Cleveland State University EngagedScholarship@CSU Michael Schwartz Library Publications Michael Schwartz Library 7-2014 Beats (Review) Mandi Goodsett Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/msl_facpub Part of the Library and Information Science Commons, and the Music Commons How does access to this work benefit ou?y Let us know! Publisher's Statement This is an Author’s Accepted Manuscript of an article published in Music Reference Services Quarterly July/Sept 2014, available online: http://www.tandfonline.com/10.1080/ 10588167.2014.932147. Repository Citation Goodsett, Mandi, "Beats (Review)" (2014). Michael Schwartz Library Publications. 106. https://engagedscholarship.csuohio.edu/msl_facpub/106 This E-Resource Review is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Michael Schwartz Library Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. E-Resources Reviews BEATS MUSIC, http://www.beatsmusic.com For the past decade, the music industry has been attempting to provide lis- teners with legal, convenient ways to access music, competing with sites like Napster and its successors. In an attempt to pull consumers out of the illegal music free-for-all and into a fee-based streaming service, the music industry has fueled a sudden explosion of new mobile and desktop music streaming applications to satisfy the needs of digital-music consumers affordably and conveniently. Moving from streaming radio services like Pandora, the new on-demand music streaming services like Spotify, Rdio, Google Play All Access, and Rhapsody offer listeners a higher level of control and greater ability to curate a listening experience than ever before. -
Zoltan KRISKO, Plaintiff, V. MARVEL ENTERTAINMENT, LLC, Warner
Krisko v. Marvel Entertainment, LLC, 473 F.Supp.3d 288 (2020) 2020 Copr.L.Dec. P 31,687 [6] owner failed to alleged contributory infringement or 473 F.Supp.3d 288 vicarious liability for infringement. United States District Court, S.D. New York. Zoltan KRISKO, Plaintiff, Motion granted in part and denied in part. v. MARVEL ENTERTAINMENT, LLC, Warner Chappell Music, Inc., the West Headnotes (49) Walt Disney Co. Fox Corp., Buena Vista Television, LLC, Nbcuniversal [1] Federal Courts Presumptions and burden Media, LLC, Amazon.com, Inc., Apple, of proof A plaintiff bears the burden of demonstrating Inc., Ronald Aaron Wasserman, personal jurisdiction over a person or entity Shuki Levy, Haim Saban, Defendants. against whom it seeks to bring suit. 1:19-cv-9256-GHW | [2] Federal Courts Presumptions and burden Signed 07/21/2020 of proof Synopsis To defeat a jurisdiction-testing motion, the Background: Composer of copyrighted song sued creators plaintiff's burden of proof varies depending on and distributors of television show whose theme music the procedural posture of the litigation. allegedly infringed. Creators moved to dismiss. [3] Federal Courts Weight and sufficiency Holdings: The District Court, Gregory H. Woods, J., held At the pleading stage—and prior to discovery— that: a plaintiff seeking to defeat a jurisdiction-testing motion need only make a prima facie showing [1] theme composer did not “transact business” in New York that jurisdiction exists. within meaning of New York long-arm statute; [2] composer was never physically present -
Billboard-1997-08-30
$6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) $5.95 (U.S.), IN MUSIC NEWS BBXHCCVR *****xX 3 -DIGIT 908 ;90807GEE374EM0021 BLBD 595 001 032898 2 126 1212 MONTY GREENLY 3740 ELM AVE APT A LONG BEACH CA 90807 Hall & Oates Return With New Push Records Set PAGE 1 2 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT AUGUST 30, 1997 ADVERTISEMENTS 4th -Qtr. Prospects Bright, WMG Assesses Its Future Though Challenges Remain Despite Setbacks, Daly Sees Turnaround BY CRAIG ROSEN be an up year, and I think we are on Retail, Labels Hopeful Indies See Better Sales, the right roll," he says. LOS ANGELES -Warner Music That sense of guarded optimism About New Releases But Returns Still High Group (WMG) co- chairman Bob Daly was reflected at the annual WEA NOT YOUR BY DON JEFFREY BY CHRIS MORRIS looks at 1997 as a transitional year for marketing managers meeting in late and DOUG REECE the company, July. When WEA TYPICAL LOS ANGELES -The consensus which has endured chairman /CEO NEW YORK- Record labels and among independent labels and distribu- a spate of negative m David Mount retailers are looking forward to this tors is that the worst is over as they look press in the last addressed atten- OPEN AND year's all- important fourth quarter forward to a good holiday season. But few years. Despite WARNER MUSI C GROUP INC. dees, the mood with reactions rang- some express con- a disappointing was not one of SHUT CASE. ing from excited to NEWS ANALYSIS cern about contin- second quarter that saw Warner panic or defeat, but clear -eyed vision cautiously opti- ued high returns Music's earnings drop 24% from last mixed with some frustration. -
Aaron Harrison
Before the UNITED STATES COPYRIGHT ROYALTY JUDGES Library of Congress Washington, D.C. ) In re ) ) DETERMINATION OF ROYALTY ) DOCKET NO. 14-CRB-0001-WR RATES AND TERMS FOR ) (2016-2020) EPHEMERAL RECORDING AND ) DIGITAL PERFORMANCE OF SOUND ) RECORDINGS (WEB IV) ) ) TESTIMONY OF AARON HARRISON Senior Vice President, Business & Legal Affairs, Global Digital Business, UMG Recordings, Inc. PUBLIC VERSION Witness for SoundExchange, Inc. PUBLIC VERSION BACKGROUND 1. I am Senior Vice President, Business & Legal Affairs, Global Digital Business, UMG Recordings, Inc. (“UMG Recordings”), a position I have held since 2013. UMG Recordings, Inc. is the primary recorded music company in the United States for the Universal Music Group. Universal Music Group (hereafter, “Universal”) is the colloquial name for the group of music related companies owned by Vivendi S.A. Together, these companies comprise the world’s largest recorded music company. Along with other members of the Business & Legal Affairs team in the Global Digital Business department, I negotiate deals with various digital music services that use Universal’s repertoire of sound recordings. Such services include on-demand and customized streaming services, download and ringtone stores, locker services, and various types of subscription services. I have negotiated deals on Universal’s behalf for the past nine years. During that time, I have negotiated more than 100 agreements with digital music services. 2. Prior to assuming my current position, I was Vice President, Business & Legal Affairs, eLabs, UMG Recordings. I began my employment with UMG Recordings in 2005 as Director, Business & Legal Affairs, eLabs. Prior to joining UMG Recordings, I was an attorney with the law firm Manatt, Phelps & Phillips, LLP, where my practice focused primarily on talent representation and advising companies in the acquisition of intellectual property and branded entertainment rights. -
POP Medley 2020
POP Medley 2020 I Couldn’t Do This Without YouWords & Music by Ruth Olajugbagbe, CHORUS ONLY Daniel Priddy & Lawrie Martin You’re like cold, cold water. ALL I AM Jess Glynne HIGH HOPES Panic! At The Disco You’re washing over me Mama said fulfll the prophecy, like a gentle breeze. Ooh. Every butterfy I get belongs to you, You’re cold, cold water. you don’t believe me, but it’s true. be something greater, go make a legacy. You’re all I never need, Sure, the freckles on my arm spell out your name, Manifest destiny, back in the days I couldn’t do this without you. real feelings coming through. we wanted everything, wanted everything. I couldn’t do this without you. ’Cause all I know and all I am is you. Ooh. Mama said burn your biographies, Yeah, all I know and all I am is you. Ooh. rewrite your history, light up your wildest dreams. I’m breaking my silence, I know this is true. Museum victories, everyday, Copyright © 2019 Lawrie Martin Publishing Designee, CANAL MUSIC PUBLISHING PV and BEST LAID PLANS MUSIC LTD. I just can’t deny it, we wanted everything, wanted everything. All Rights for CANAL MUSIC PUBLISHING PV and BEST LAID PLANS MUSIC LTD. Administered by UNIVERSAL MUSIC PUBLISHING LIMITED. International Copyright Secured All Rights Reserved that all I know and all I am is you. Mama said don’t give up, it’s a little complicated. Every time I think I’m falling, All tied up, no more love and I’d hate to see you waitin’.