World AIDS Day Single Launches in Support of Mens Health Charity Submitted By: Shoot PR Friday, 30 November 2007

Total Page:16

File Type:pdf, Size:1020Kb

World AIDS Day Single Launches in Support of Mens Health Charity Submitted By: Shoot PR Friday, 30 November 2007 World AIDS Day Single Launches in Support of Mens Health Charity Submitted by: Shoot PR Friday, 30 November 2007 London, 29 November 2007 -- Lee Thomas (a.k.a. 4th Child) is releasing a World AIDS Day single with sales that will benefit awareness of HIV and AIDS in the UK. The single, Lovers & Best Friends, will be available for download only and was released on November 26th 2007. All profit from sales will be donated to the gay men’s health charity GMFA (http://www.gmfa.org.uk). “The first time I recorded Lovers & Best Friends, in 1993, a close friend of mine was diagnosed HIV positive. He has since passed away and rather than let him or anyone else be remembered as just another statistic, I want this record to be for them,” said Lee Thomas. “I now feel strong enough to sing it again and wanted to release it in time for World Aids Day. Having all the proceeds going to GMFA seems the best and right thing to do with the song.” Lee Thomas has worked with some of the music industry greats, including Sony and Culture Club’s Helen Terry. The single’s writers and producers have credits with David Gray, New Order, Will Young, the Spice Girls, Sophie Ellis Bextor and even Kylie! A preview of Lovers & Best Friends is available on MySpace (http://www.myspace.com/4thchildcharitysingle). Downloads are available now from: iTunes (www.apple.com/search/ipoditunes/?q=4th+child+lovers), Napster, MTV Digital Download Centre, MSN, Tunetribe, Oxfam eMusic, Tiscali Music Downloads and Y! Music Unlimited. “Lee first offered us the song to go on GMFA’s MySpace profile. We were thrilled with it as it’s a beautiful piece of work, and I’m sure many of us can relate to it,” said Matthew Hodson, Head of Programmes for GMFA. “A lot of our work, such as our new information website for HIV positive gay men, receives no statutory funding and so we are hugely grateful for the support that we get from one of donations and from people like Lee. We really hope that everyone in the UK will listen to the track, download it, and help raise funds for our HIV prevention and information services.” The tracks available for download are: •Lovers & best friends - Radio Edit •Lovers & best friends - Lex Da Funk Remix - Ends - For more information or to arrange an interview with Lee Thomas (4th Child) contact: Jay Evans, Shoot PR Telephone: 020 7793 7297 Email: [email protected] For more information about this or any other of GMFA’s campaigns and actions, contact: Matthew Hodson Day Phone Number: 020 7738 6872 Page 1 Night Phone Number: 07792 412 834 Email: [email protected] Notes to editor: About GMFA: GMFA was established in 1992 and is the UK’s leading charity dedicated to gay men’s health. GMFA’s mission is to improve gay men’s health by increasing the control they have over their own lives. We believe that the best health promotion for gay men comes from gay men themselves, and so we use the knowledge and ideas of our 170 volunteers (most of them gay men) to design and plan our thought provoking sexual health interventions. Yearly we deliver three new mass media campaigns in the gay press to disseminate up to date information regarding HIV and STIs to the gay male community. Independent surveys have concluded that our campaigns reach up to 60% of the London gay population and we are the most reliable agency at reaching gay men. In addition to this we distribute our own health magazine, FS, free to London’s gay bars and clubs to further educate gay men about relationships, their bodies, general health and STIs. Annually, we deliver 1000 hours of group work to educate gay men in safer sex, and over the last fourteen years have provided courses for over 10,000 gay men. We have received international acclaim for our Sex and Sexual Health website (www.gmfa.org.uk/sex). Our other websites include a detailed listing of sexual health services available for gay men in London (www.gmfa.org.uk/londonservices) and a guide to gay sports and social groups in London (www.gmfa.org.uk/theguide). We are continually developing new health websites and are just about to launch a website for HIV positive gay men. All of our sites can be accessed at [www.gmfa.org.uk[http://www.gmfa.org.uk] Page 2 Distributed via Press Release Wire (https://pressreleases.responsesource.com/) on behalf of Shoot PR Copyright © 1999-2021 ResponseSource, The Johnson Building, 79 Hatton Garden, London, EC1N 8AW, UK e: [email protected] t: 020 3426 4051 f: 0345 370 7776 w: https://www.responsesource.com.
Recommended publications
  • What's the Download® Music Survival Guide
    WHAT’S THE DOWNLOAD® MUSIC SURVIVAL GUIDE Written by: The WTD Interactive Advisory Board Inspired by: Thousands of perspectives from two years of work Dedicated to: Anyone who loves music and wants it to survive *A special thank you to Honorary Board Members Chris Brown, Sway Calloway, Kelly Clarkson, Common, Earth Wind & Fire, Eric Garland, Shirley Halperin, JD Natasha, Mark McGrath, and Kanye West for sharing your time and your minds. Published Oct. 19, 2006 What’s The Download® Interactive Advisory Board: WHO WE ARE Based on research demonstrating the need for a serious examination of the issues facing the music industry in the wake of the rise of illegal downloading, in 2005 The Recording Academy® formed the What’s The Download Interactive Advisory Board (WTDIAB) as part of What’s The Download, a public education campaign created in 2004 that recognizes the lack of dialogue between the music industry and music fans. We are comprised of 12 young adults who were selected from hundreds of applicants by The Recording Academy through a process which consisted of an essay, video application and telephone interview. We come from all over the country, have diverse tastes in music and are joined by Honorary Board Members that include high-profile music creators and industry veterans. Since the launch of our Board at the 47th Annual GRAMMY® Awards, we have been dedicated to discussing issues and finding solutions to the current challenges in the music industry surrounding the digital delivery of music. We have spent the last two years researching these issues and gathering thousands of opinions on issues such as piracy, access to digital music, and file-sharing.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Digital Music Report 2014 Shows a Fast-Changing, Dynamic Business Is Moving to Unlock It
    ifpi_lift-off_ad_HD.pdf 1 28/02/14 14:23 Contents Introduction Long Live the Record Label 4 Plácido Domingo, Chairman, IFPI 24 Daft Punk: A physical campaign in the digital world Frances Moore, Chief Executive, IFPI Avicii: From club DJ to global superstar Hunter Hayes: The YouTube orchestra Facts, Figures and Trends Passenger and the Embassy of Music 6 Streaming and subscriptions surge Engaging fans in social networks in Brazil A diverse global market Katy Perry: A global phenomenon A mixed economy of revenue streams Tommy Torres: Harnessing the power of Twitter Revival in Scandinavia US stabilises as Europe grows Sweden: A Market Transformed Lighting up developing markets 34 A return to growth Attracting consumers to licensed services A continuous revenue stream Growing diversity Most Popular Artists of 2013 What next in Sweden? 12 Top selling global albums IFPI Global Recording Artist Chart China: New Hopes for a Licensed Music Market Top global singles 36 Moving to the paid model The importance of local repertoire Tackling piracy Lighting Up New Markets and Models Africa: Emerging Opportunity 16 The move to mobile 38 Digital services being established Access & ownership Expanding A&R activity The rise and rise of streaming and subscription More discovery, more from mobile Improving the Environment for Digital Music Streaming: “A sustainable income” 40 Consumer attitudes to piracy Monetising music video Website blocking proves effective Internet radio — looking globally vKontakte: Stifling a licensed business in Russia Engaging
    [Show full text]
  • Emusic Marketing. the Basics to Get You Started
    EMusic Marketing. The basics to get you started. By Tomaca Govan - 1 - This is just to get anyone started with their own eMusic Marketing campaign. There is so much information on the web on this subject. These are some of the basics. Start here, then go find more and put together a plan of action that will work for you. EMusic Marketing. The basics to get you started. By Tomaca Govan - 2 - Must Haves - The Summary The internet age is in full swing. How can the indie artist best maneuver to market themselves and their music? And, where does one begin? 1. Have your own website. OWN your name or your band’s name. It is your brand. This is essential. Your website should be appealing to your fans. Use wordpress to build your site. There are thousands of templates and plugins to enhance your site and to make it more socially interactive. Your domain name comes with email. Use it. 2. Get on Facebook.com You want a facebook page that all of your fans can “like” and use to stay in touch with what you are doing. 3. MySpace.com MySpace rapidly lost popularity to facebook and other sites, but it is still a good place to share your music and connect with fans. 4. Twitter.com Twitter anyone? Yes, twitter everyone. 5. YouTube.com Your personal YouTube will be used to upload your videos and to stream them from on other sites. EMusic Marketing. The basics to get you started. By Tomaca Govan - 3 - Your Website Own Your Name This starts with owning your name or your band’s domain name.
    [Show full text]
  • Digital-Music-Report-2015
    CONTENTS 4 25 Introduction Moving to a global release day in 2015 Plácido Domingo, chairman, IFPI Frances Moore, chief executive, IFPI 27 Country case studies 6 Brazil: a top performing market Market overview China: moving towards paid services An evolving portfolio business Germany: streams grow, CDs resilient Regional picture 32 10 Music and the wider economy Most popular artists and global bestsellers of 2014 The broader effect of investment in artists IFPI Global Recording Artist of the Year 2014 Music helps drive social media Top selling global albums & singles of 2014 Music and economic growth How streaming is changing the charts Tomorrow’s world 14 34 Key recording industry trends in 2014 Labels working with artists: four case studies Subscription drives the music portfolio David Guetta: using data intelligently New global services, more reach Lucas Lucco: artist and digital native Smartphones and partnerships drive growth Sam Smith: innovative promotion Getting subscription to the mass market Wakin Chau: interactive digital promotion Streaming revenue models Streaming services compete on curation 38 Payment options diversify Tackling digital piracy Downloads decline Consumer attitudes towards piracy Video streaming surges Website blocking Search engines 20 Advertising and payment providers New IFPI data shows artist payments Piracy and apps as share of revenues are up IFPI’s content protection work 22 41 Fixing the ‘value gap’ in digital music Digital music services worldwide Cover Taylor Swift photo by Sarah Barlow + Stephen Schofield Robin Schulz photo by Geturshot.com Wakin Chau photo courtesy of Rock Group One Direction photo by RJ Shaughnessy Lucas Lucco photo by Guto Costa Ed Sheeran photo by Ben Watts Katy Perry photo by Cass Bird This report includes new findings from a consumer study carried out by IPSOS in January 2015 across 13 of the world’s leading music markets (Australia, Brazil, Canada, France, Germany, Great Britain, Italy, Japan, Mexico, South Korea, Spain, Sweden, United States), www.ifpi.org commissioned by IFPI.
    [Show full text]
  • Interactive Content and Convergence: Implications for the Information Society
    Interactive content and convergence: Implications for the information society A Study for the European Commission (DG Information Society and Media) By Screen Digest Ltd, CMS Hasche Sigle, Goldmedia Gmbh, Rightscom Ltd Final Report October 2006 screendigest Interactive content and convergence: implications for the information society Interactive content and convergence: Implications for the information society screendigest Published October 2006 by Screen Digest Limited Screen Digest Limited Lymehouse Studios 30/31 Lyme Street London NW1 0EE telephone +44/20 7424 2820 fax +44/20 7424 2838 Contact: [email protected] Author: Screen Digest, Rightscom, Goldmedia, CMS Hasche Sigle Editor: Ben Keen, Vincent Letang Layout: Tom Humberstone, Leander Vanderbijl The opinions expressed in this study are those of the authors and do not necessarily refl ect the views of the European Commission. The observations, opinions or suggestions in this report do not necessarily refl ect the opinion of the authors, unless explicitly marked as such. Deliverables of the study Volume One: Executive summary and Main Final Report [this document] Volume Two: Annexes 2 Table of contents Table of contents 3 2.3 Television 71 2.3.1 TV Value chain and market trends 71 List of fi gures 7 2.3.2 Generic obstacles to digital TV distribution 80 Executive summary and main fi ndings 11 2.3.3 ‘Red button’ interactive TV 85 2.3.4 Walled garden networks 86 Introduction 19 2.3.5 Online TV (Internet based TV) 87 Consultation of stake-holders 20 2.3.6 IPTV 88 Taxonomy and
    [Show full text]
  • GINNI Case Study Branding, Advertising, Press/PR, Marketing, Sponsorship and Production
    GINNI Case Study Branding, Advertising, Press/PR, Marketing, Sponsorship and Production DeborahCollier.com 10th July 2016 About Ginni the Artist Deborah discovered Ginni, a very talented singer songwriter, during local open mike nights. South African born Ginni was an experienced versatile multi-instrumentalist who could write great songs. As a mature artist, she was experienced with both recording and performing and had a large catalog of songs she wanted released. Deborah became interested in starting a record label further to a music industry training course, originally attended to support her ideas for the madammusic.com music portal. Ginni later became one of two acts Deborah was interested in signing. Attracting Partners In the music industry, producers and press/pr companies choose which artists they would like to work with. Association with great brands, music and artists is key to their reputation. More importantly however, they want to work with brands they believe in and can impact. Therefore, the first stage process after successfully signing Ginni was to build a profile, proposition and marketing pack to attract partners. Deborah co-ordinated the production of a marketing pack, which included photos, biography, press releases and demos, and a link to a web site she had built at ginnimusic.com. The marketing pack was described by a top music press/pr company as “major record label standard”. Deborah was successful at securing a leading regional radio plugger, a leading national tv/radio plugger and a top producer management company who co-ordinated a meeting for Deborah and Ginni with producer Mark Wallis (U2, Travis, REM, Keane).
    [Show full text]
  • Ifpi-Digital-Music-Report-2015.Pdf
    CONTENTS 4 25 Introduction Moving to a global release day in 2015 Plácido Domingo, chairman, IFPI Frances Moore, chief executive, IFPI 27 Country case studies 6 Brazil: a top performing market Market overview China: moving towards paid services An evolving portfolio business Germany: streams grow, CDs resilient Regional picture 32 10 Music and the wider economy Most popular artists and global bestsellers of 2014 The broader effect of investment in artists IFPI Global Recording Artist of the Year 2014 Music helps drive social media Top selling global albums & singles of 2014 Music and economic growth How streaming is changing the charts Tomorrow’s world 14 34 Key recording industry trends in 2014 Labels working with artists: four case studies Subscription drives the music portfolio David Guetta: using data intelligently New global services, more reach Lucas Lucco: artist and digital native Smartphones and partnerships drive growth Sam Smith: innovative promotion Getting subscription to the mass market Wakin Chau: interactive digital promotion Streaming revenue models Streaming services compete on curation 38 Payment options diversify Tackling digital piracy Downloads decline Consumer attitudes towards piracy Video streaming surges Website blocking Search engines 20 Advertising and payment providers New IFPI data shows artist payments Piracy and apps as share of revenues are up IFPI’s content protection work 22 41 Fixing the ‘value gap’ in digital music Digital music services worldwide Cover Taylor Swift photo by Sarah Barlow + Stephen Schofield Robin Schulz photo by Geturshot.com Wakin Chau photo courtesy of Rock Group One Direction photo by RJ Shaughnessy Lucas Lucco photo by Guto Costa Ed Sheeran photo by Ben Watts Katy Perry photo by Cass Bird This report includes new findings from a consumer study carried out by IPSOS in January 2015 across 13 of the world’s leading music markets (Australia, Brazil, Canada, France, Germany, Great Britain, Italy, Japan, Mexico, South Korea, Spain, Sweden, United States), www.ifpi.org commissioned by IFPI.
    [Show full text]
  • Digital Music Report 2012 Expanding Choice
    Digital Music Report 2012 Expanding Choice. Going Global Digital Music Report 2012 Contents Introduction 3 Focus on France 20 n Plácido Domingo, chairman, IFPI n Hadopi: “Positive impact for years to come” n Frances Moore, chief executive, IFPI n The independent’s view: Innovation and “meaningful sanctions” Artist voices 5 Focus on the US 21 Digital Music: Expanding Choice. n ISP agreement and strong digital growth Going Global 6 n Executive Summary Focus on South Korea 22 n Global digital growth rate accelerates n A continuing success n The global top selling digital singles of 2011 n Access or ownership? You choose Developing a legitimate business in China 23 n Global expansion n Major record companies license Baidu n Progress against piracy n Intermediaries have a key role Protecting content online: Intermediaries step up 24 The business models of digital music 10 n Search engines should link to legal music n Downloads break through borders n Advertising: Cutting the funds to piracy n Digital album demand alive and kicking n Payment providers act on illegal sites n The rise of subscription n Hosting providers: A key partner n Subscription reaches new consumers n Bundling music – a route to the mass market Self-Help: Anti-piracy enforcement n Internet radio continued to expand and education 26 n Music video meets strong consumer demand n Tackling the pre-release hackers n Public education: a long term commitment The art of digital marketing 14 n A Guide to Music, Film, TV and the Internet Piracy: Improved cooperation from Digital Music
    [Show full text]
  • IFPI Digital Music Report 2010 Music How, When, Where You Want It Contents
    IFPI Digital Music Report 2010 Music how, when, where you want it Contents 3. Introduction 4. Executive Summary: Music – Pathfinder In The Creative Industries’ Revolution 8. The Diversification Of Business Models 10. Digital Music Sales Around The World 12. In Profile: Pioneers Of Digital Music 18. Competing In A Rigged Market – The Problem Of Illegal File-Sharing 20. ‘Climate Change’ For All Creative Industries 24. Graduated Response – A Proportionate, Preventative Solution 28. The World Of Legal Music Services 30. Consumer Education – Lessons Learned Music How, When, Where You Want It – But Not Without Addressing Piracy By John Kennedy, Chairman & Chief Executive, IFPI This is the seventh IFPI Digital Music in new artists, we have to tackle mass legislation to curb illegal file-sharing. Report. If you compare it to the first piracy. Second, we are progressing towards Another clear change is within the music report published in 2004, you can an effective response. The progress is sector itself. It was, until recently, rare see a transformation in a business agonisingly slow for an industry which does for artists to engage in a public debate which has worked with the advance not have a lot of time to play with – but it is about piracy or admit it damages them. of technology, listened to the consumer progress nonetheless. In September 2009, the mood changed. and responded by licensing its music Lily Allen spoke out about the impact of in new formats and channels. On page 20 of the Report, Stephen illegal file-sharing on young artists’ careers. Garrett, head of the production company When she was attacked by an abusive In 2009 globally, for the first time, more Kudos, refers to a “climate change” in online mob, others came to her support.
    [Show full text]
  • Music Providers Landscape Europe
    Artist to Business to Business to Consumer Audio Branding System www.abcdj.eu D2.3 Music Providers Landscape Europe Project Reference 688122 — ABC_DJ — H2020-ICT-2015 Deliverable/WP/Task D2.3/WP2/T2.3 Delivery Date 30/06/2016 Main Author(s) Borja Torres, LMONK, [email protected] Co-Author(s) Dave Roozendaal, LMONK, [email protected] Lucía Reguera, LMONK, [email protected] Quality Assurance Alessandro Canepa, PIAC, [email protected] Silke Borgstedt, INTEG, [email protected] Filename D2.3_ABC_DJ_Music_Providers_Landscape_Europe.pdf Publication Level PU ABC_DJ - An Artist-to-Business-to-Business-to-Consumer Audio Branding System contact: www.abcdj.eu email: [email protected] Music providers landscape Europe D2.3 Copyright Notice © ABC_DJ Consortium. 2016. This document contains material, which is the copyright of certain ABC_DJ consortium parties. This work is licensed under the Creatice Commons Licence CC BY-NC 4.0, http://creativecommons.org/licenses/by-nc/4.0/. Disclaimer Neither the ABC_DJ consortium as a whole, nor a certain party of the ABC_DJ consortium warrant that the information contained in this document is capable of use, nor that use of the information is free from risk, and accepts no liability for loss or damage suffered by any person using this information. Neither the European Commission, nor any person acting on behalf of the Commission, is responsible for any use which might be made of the information in this document. The views expressed in this document are those of the authors and do not necessarily reflect the policies of the European Commission. Project Information Full project title ABC_DJ — Artist-to-Business-to-Business-to-Consumer Audio Branding System Project Coordinator Stefan Weinzierl / TU Berlin Project ID 688122 — ABC DJ — H2020-ICT-2015 Acknowledgements This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 688122.
    [Show full text]