0001193125-23-283432.txt : 20231127 0001193125-23-283432.hdr.sgml : 20231127 20231127172859 ACCESSION NUMBER: 0001193125-23-283432 CONFORMED SUBMISSION TYPE: 1-A/A PUBLIC DOCUMENT COUNT: 18 FILED AS OF DATE: 20231127 DATE AS OF CHANGE: 20231127 FILER: COMPANY DATA: COMPANY CONFORMED NAME: Jukebox Hits Vol. 1 LLC CENTRAL INDEX KEY: 0001974755 STANDARD INDUSTRIAL CLASSIFICATION: PATENT OWNERS & LESSORS [6794] IRS NUMBER: 931635027 STATE OF INCORPORATION: DE FISCAL YEAR END: 1231 FILING VALUES: FORM TYPE: 1-A/A SEC ACT: 1933 Act SEC FILE NUMBER: 024-12335 FILM NUMBER: 231441169 BUSINESS ADDRESS: STREET 1: 10000 WASHINGTON BLVD. STREET 2: SUITE 07-134 CITY: CULVER CITY STATE: CA ZIP: 90232 BUSINESS PHONE: (213) 290-4817 MAIL ADDRESS: STREET 1: 10000 WASHINGTON BLVD. STREET 2: SUITE 07-134 CITY: CULVER CITY STATE: CA ZIP: 90232 1-A/A 1 primary_doc.xml 1-A/A LIVE 0001974755 XXXXXXXX 024-12335 Jukebox Hits Vol. 1 LLC DE 2023 0001974755 7374 93-1635027 0 0 10000 WASHINGTON BLVD. SUITE 07-134 CULVERCITY CA 90232 213-290-4817 Zachary Fallon Other 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 N/A Membership Interests 0 000000000 N/A N/A 0 000000000 N/A N/A 0 000000000 N/A true true false Tier2 Audited Other(describe) A contractual right to receive a portion of the royalties, fees, and other income streams related to or derived from certain musical songs, compositions, sound recordings, portfolios or catalogs Y Y N Y Y N 6826828 0 48075550.00 0.00 0.00 0.00 48075550.00 Ketsal PLLC 0.00 true AL AK AZ AR CA CO CT DE DC FL GA HI ID IL IN IA KS KY LA ME MD MA MI MN MS MO MT NE NV NH NJ NM NY NC ND OH OK OR PA RI SC SD TN TX UT VT VA WA WV WY A0 A1 A2 A3 A4 A5 A6 A7 A8 A9 B0 Z4 true PART II AND III 2 d462927dpartiiandiii.htm PART II AND III PART II AND III
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AN OFFERING STATEMENT PURSUANT TO REGULATION A RELATING TO THESE SECURITIES HAS BEEN FILED WITH THE SECURITIES AND EXCHANGE COMMISSION. INFORMATION CONTAINED IN THIS PRELIMINARY OFFERING CIRCULAR IS SUBJECT TO COMPLETION OR AMENDMENT. THESE SECURITIES MAY NOT BE SOLD NOR MAY OFFERS TO BUY BE ACCEPTED BEFORE THE OFFERING STATEMENT FILED WITH THE SECURITIES AND EXCHANGE COMMISSION IS QUALIFIED. THIS PRELIMINARY OFFERING CIRCULAR SHALL NOT CONSTITUTE AN OFFER TO SELL OR THE SOLICITATION OF AN OFFER TO BUY NOR MAY THERE BE ANY SALES OF THESE SECURITIES IN ANY STATE IN WHICH SUCH OFFER, SOLICITATION OR SALE WOULD BE UNLAWFUL BEFORE REGISTRATION OR QUALIFICATION UNDER THE LAWS OF ANY SUCH STATE. WE MAY ELECT TO SATISFY OUR OBLIGATION TO DELIVER A FINAL OFFERING CIRCULAR BY SENDING YOU A NOTICE WITHIN TWO (2) BUSINESS DAYS AFTER THE COMPLETION OF OUR SALE TO YOU THAT CONTAINS THE URL WHERE THE OFFERING CIRCULAR MAY BE OBTAINED.

JUKEBOX HITS VOL. 1 LLC

Preliminary Offering Circular

November 27, 2023

Subject to Completion

 

LOGO

Best Efforts Offering of Royalty Shares

Jukebox Hits Vol. 1 LLC (which we refer to as the “Company,” “we,” “us,” or “our”) is a newly formed Delaware limited liability company established to facilitate and manage investors’ economic exposure to the Company’s contractual right to receive a portion of the royalties, fees, and other income streams (“Income Interests”) related to or derived from musical songs, compositions, sound recordings, portfolios or catalogs (“Music Assets”) from certain Purchase Agreements (including, without limitation, the schedule, exhibits and amendments thereto) described in this Preliminary Offering Circular (the “Offering Circular”) (each, a “Purchase Agreement,” collectively, the “Purchase Agreements”; and the rights of the Company under the Purchase Agreements, the “Royalty Rights”). The Company will facilitate and manage investors’ economic exposure to the Royalty Rights by issuing, for each series, the contractual right (the “Royalty Shares”) to receive a specified portion of royalties, fees, and other income streams embodied in the Income Interests we receive that relate to Royalty Rights for a specific Music Asset or a compilation of Music Assets (as applicable) set forth in the Royalty Shares Offering Table, to investors in this best-efforts offering of securities (this “Offering”) pursuant to Regulation A of the Securities Act of 1933, as amended (the “Securities Act”). The Company will convey, or cause to be conveyed, any Royalty Rights it receives pursuant to the Purchase Agreements and any Royalty Share Payments payable to Holders of Royalty Shares to a newly formed trust under state law (the “Trust”), which will hold the Royalty Rights for the benefit of Holders of Royalty Shares. We may collectively refer to the offerings of Royalty Shares in this Offering Circular as the “Offerings” and each, individually, as an “Offering.”

The Company will enter into one or more Purchase Agreements with Income Interest owners (“Income Interest Owners”). Royalty Shares will be issued in series, with each series relating to a specific Music Asset or a compilation of Music Assets (as applicable), and the Company’s corresponding Royalty Rights under the corresponding Purchase Agreement. Investors who hold Royalty Shares will be entitled to receive a pro rata portion of the amounts we actually receive from the specified Royalty Rights that correspond to such series of Royalty Shares (less any fees and expenses as further described herein), calculated based on the number of Royalty Shares of a particular series that an investor holds compared to the total outstanding number of Royalty Shares of such series (payment of such pro rata portion, “Royalty Share Payments”). Royalty Shares are unsecured limited obligations of the Company and do not confer any voting rights on the holders thereof. Purchasing Royalty Shares does not confer to the investor any ownership in the Company, the Trust, or the underlying music portfolio containing the Music Assets.

The Company is managed by its sole member, Double Platinum Management LLC, a Delaware limited liability company (the “Manager”). The Manager is a single-member Delaware limited liability company wholly owned by Jukebox Co., a Delaware corporation (“Jukebox Holding”). The Manager will be deemed to be a statutory underwriter under Section 2(a)(11) of the Securities Act by virtue of any assistance it may provide in the offer and sale of the Company’s securities in connection with the Offering.


Table of Contents

The Royalty Shares will be made available for purchase through the Company’s associated persons on the web-based platform located at https://www.jkbx.com (the “JKBX Platform”). The JKBX Platform is owned by Jukebox Technology LLC, a Delaware limited liability company (“Jukebox Technology”) and a wholly-owned subsidiary of Jukebox Holding. An investor may view Offering details on the JKBX Platform and, after establishing a user profile, sign transactional documents for Offerings online.

This Offering is being conducted by the Company as a direct public offering (i.e., without the benefit of the services of an SEC-registered broker-dealer) on a “best efforts” basis in a “Tier 2” Regulation A offering by associated persons of ours through the JKBX Platform. We expect to offer Royalty Shares in this Offering until we raise the maximum amount being offered, but there is no guarantee that any amount will be sold. The offering of each series of Royalty Shares described in and qualified pursuant to this Offering Circular will commence on the date on which the Offering is qualified by the U.S. Securities and Exchange Commission (the “SEC”). Subscriptions will be accepted on a rolling basis. The Company will close sales of Royalty Shares to investors in the Offering on an ongoing, continuous basis and will purchase Income Interests pursuant to each applicable Purchase Agreement in the form of Royalty Rights as proceeds from the Offering are received by the Company from investors through the sale of Royalty Shares in the Offering that correspond to such Royalty Rights. The Company is seeking to qualify an amount of Royalty Shares that it reasonably expects to be able to sell within two (2) years from the date of initial qualification. In any event, however, the Offering will not exceed three (3) years from the date of commencement in accordance with Rule 251(d)(3)(F) of Regulation A. The Company reserves the right to terminate the Offering for any reason at any time prior to the final closing. The minimum purchase threshold to participate in this Offering per investor per series is one (1) Royalty Share. Subscriptions, once received, are irrevocable by investors but can be rejected by us.

This Offering is currently not available to residents of the State(s) of New Jersey, Texas or Washington, pending registration with state securities regulators in such States of our Manager as an Issuer-Dealer or its Agent as an Issuer-Agent. This Offering Circular is not an offer to sell to, and is not directed to or soliciting an offer to buy these securities from, any person in any state or jurisdiction where the offer or sale is not permitted.

The Company has not engaged commissioned sales agents or broker-dealers and, in conjunction with its associated persons, plans to conduct and distribute the Offering through the JKBX Platform. The Company’s Manager is deemed to be an underwriter in the Offering solely for purposes of Section 2(a)(11) of the Securities Act. No other affiliated entity involved in the offer and sale of the Royalty Shares is currently a member firm of the Financial Industry Regulatory Authority Inc. (“FINRA”) and no person associated with us will be deemed to be a broker solely by reason of his or her participation in the sale of the Royalty Shares. Where appropriate, in order to conduct the offering, the Company intends to register with state securities regulators as an Issuer-Dealer or register one or more of its associated persons, including the Manager, where required, with state securities regulators as an Issuer-Agent. See “Plan of Distribution” in this Offering Circular for additional information.

Brassica Services LLC, an SEC-registered transfer agent, will serve as our transfer agent and registrar in connection with this Offering.

We do not currently intend to list the Royalty Shares for trading on a national securities exchange. We may, in the future, facilitate secondary sales of Royalty Shares on an alternative trading system owned by an SEC-registered broker-dealer and a member of FINRA and the Securities Investors Protection Corporation (“SIPC”), referred to as the “ATS.” Additionally, we may engage the services of an SEC-registered broker-dealer and a member of FINRA and SIPC to provide Holders of the Royalty Shares with access to the ATS through the JKBX Platform. No assurance can be given that the Company, the ATS or any such broker-dealer we engage will be in a position to facilitate sales of the Royalty Shares or, in the event they are able to facilitate such sales, provide an effective means of selling your Royalty Shares or that the price at which any Royalty Shares may be sold through any broker-dealer or ATS with the assistance of such broker-dealer (or otherwise) will be reflective of the actual value of the Royalty Shares or the underlying Royalty Rights. If secondary sales of Royalty Shares are possible on the ATS, such sales may be subject to fees imposed by the ATS and/or the broker-dealer we engage or other broker-dealers operating on the ATS. The Royalty Shares may only be transferred by operation of law or on a trading platform approved by the Company, such as the ATS, or with the prior written consent of the Company.

No sales of Royalty Shares will be made prior to the qualification of an offering statement by the SEC. After qualification of an offering statement, the Company may add additional Royalty Shares or series of Royalty Shares by post-qualification amendment to the offering statement. All Royalty Shares will be offered in all jurisdictions at the same price that is set forth in this Offering Circular. The initial offering prices of the Royalty Shares were determined by the Manager on an arbitrary basis, and such prices bear no relationship to our book or asset values, or to any other established criteria for valuing Royalty Shares.

 

Royalty Shares Offered by the Company(1)   Per Royalty
Share Price
to Public
    Per Royalty Share
Broker-dealer
Discounts and
Commissions(2)
    Per Royalty Share
Proceeds to Us
    Maximum Price
to Public
    Maximum
Broker-dealer
Discounts and
Commissions(2)
    Maximum
Proceeds to Us
 

JKBX HITS VOL1 00005

  $ 2.23     $ —       $ 2.23     $ 223,000.00     $ —       $ 223,000.00  

JKBX HITS VOL1 00006

  $ 9.05     $ —       $ 9.05     $ 905,000.00     $ —       $ 905,000.00  

JKBX HITS VOL1 00007

  $ 1.65     $ —       $ 1.65     $ 165,000.00     $ —       $ 165,000.00  

JKBX HITS VOL1 00008

  $ 1.65     $ —       $ 1.65     $ 132,000.00     $ —       $ 132,000.00  

JKBX HITS VOL1 00010

  $ 30.95     $ —       $ 30.95     $ 3,714,000.00     $ —       $ 3,714,000.00  

JKBX HITS VOL1 00011

  $ 2.16     $ —       $ 2.16     $ 216,000.00     $ —       $ 216,000.00  

JKBX HITS VOL1 00012

  $ 4.49     $ —       $ 4.49     $ 449,000.00     $ —       $ 449,000.00  

JKBX HITS VOL1 00013

  $ 8.01     $ —       $ 8.01     $ 801,000.00     $ —       $ 801,000.00  

JKBX HITS VOL1 00014

  $ 10.26     $ —       $ 10.26     $ 1,026,000.00     $ —       $ 1,026,000.00  

JKBX HITS VOL1 00015

  $ 1.98     $ —       $ 1.98     $ 198,000.00     $ —       $ 198,000.00  

JKBX HITS VOL1 00016

  $ 2.79     $ —       $ 2.79     $ 279,000.00     $ —       $ 279,000.00  

JKBX HITS VOL1 00017

  $ 2.06     $ —       $ 2.06     $ 206,000.00     $ —       $ 206,000.00  

JKBX HITS VOL1 00019

  $ 1.70     $ —       $ 1.70     $ 102,000.00     $ —       $ 102,000.00  

JKBX HITS VOL1 00020

  $ 55.00     $ —       $ 55.00     $ 55,000.00     $ —       $ 55,000.00  

JKBX HITS VOL1 00021

  $ 5.90     $ —       $ 5.90     $ 590,000.00     $ —       $ 590,000.00  

JKBX HITS VOL1 00022

  $ 8.60     $ —       $ 8.60     $ 860,000.00     $ —       $ 860,000.00  

JKBX HITS VOL1 00023

  $ 10.00     $ —       $ 10.00     $ 1,000.00     $ —       $ 1,000.00  

JKBX HITS VOL1 00024

  $ 1.92     $ —       $ 1.92     $ 192,000.00     $ —       $ 192,000.00  

JKBX HITS VOL1 00026

  $ 2.02     $ —       $ 2.02     $ 101,000.00     $ —       $ 101,000.00  

JKBX HITS VOL1 00027

  $ 31.37     $ —       $ 31.37     $ 6,274,000.00     $ —       $ 6,274,000.00  

JKBX HITS VOL1 00028

  $ 3.23     $ —       $ 3.23     $ 323,000.00     $ —       $ 323,000.00  

JKBX HITS VOL1 00030

  $ 3.47     $ —       $ 3.47     $ 347,000.00     $ —       $ 347,000.00  

JKBX HITS VOL1 00031

  $ 1.80     $ —       $ 1.80     $ 108,000.00     $ —       $ 108,000.00  

JKBX HITS VOL1 00032

  $ 3.09     $ —       $ 3.09     $ 309,000.00     $ —       $ 309,000.00  

JKBX HITS VOL1 00033

  $ 16.00     $ —       $ 16.00     $ 400.00     $ —       $ 400.00  

JKBX HITS VOL1 00034

  $ 24.00     $ —       $ 24.00     $ 24,000.00     $ —       $ 24,000.00  

JKBX HITS VOL1 00035

  $ 1.50     $ —       $ 1.50     $ 105,000.00     $ —       $ 105,000.00  

JKBX HITS VOL1 00037

  $ 6.42     $ —       $ 6.42     $ 642,000.00     $ —       $ 642,000.00  


Table of Contents
Royalty Shares Offered by the Company   Per Royalty
Share Price
to Public
    Per Royalty Share
Broker-dealer
Discounts and
Commissions
    Per Royalty Share
Proceeds to Us
    Maximum Price
to Public
    Maximum
Broker-dealer
Discounts and
Commissions
    Maximum
Proceeds to Us
 

JKBX HITS VOL1 00038

  $ 3.34     $ —       $ 3.34     $ 334,000.00     $ —       $ 334,000.00  

JKBX HITS VOL1 00039

  $ 31.43     $ —       $ 31.43     $ 44,000.00     $ —       $ 44,000.00  

JKBX HITS VOL1 00040

  $ 2.89     $ —       $ 2.89     $ 289,000.00     $ —       $ 289,000.00  

JKBX HITS VOL1 00041

  $ 1.55     $ —       $ 1.55     $ 93,000.00     $ —       $ 93,000.00  

JKBX HITS VOL1 00042

  $ 14.51     $ —       $ 14.51     $ 1,451,000.00     $ —       $ 1,451,000.00  

JKBX HITS VOL1 00043

  $ 6.78     $ —       $ 6.78     $ 678,000.00     $ —       $ 678,000.00  

JKBX HITS VOL1 00044

  $ 13.09     $ —       $ 13.09     $ 1,309,000.00     $ —       $ 1,309,000.00  

JKBX HITS VOL1 00045

  $ 5.03     $ —       $ 5.03     $ 503,000.00     $ —       $ 503,000.00  

JKBX HITS VOL1 00046

  $ 1.79     $ —       $ 1.79     $ 179,000.00     $ —       $ 179,000.00  

JKBX HITS VOL1 00047

  $ 1.98     $ —       $ 1.98     $ 198,000.00     $ —       $ 198,000.00  

JKBX HITS VOL1 00049

  $ 9.76     $ —       $ 9.76     $ 976,000.00     $ —       $ 976,000.00  

JKBX HITS VOL1 00050

  $ 1.84     $ —       $ 1.84     $ 92,000.00     $ —       $ 92,000.00  

JKBX HITS VOL1 00051

  $ 3.21     $ —       $ 3.21     $ 321,000.00     $ —       $ 321,000.00  

JKBX HITS VOL1 00053

  $ 10.43     $ —       $ 10.43     $ 1,043,000.00     $ —       $ 1,043,000.00  

JKBX HITS VOL1 00054

  $ 24.47     $ —       $ 24.47     $ 4,894,000.00     $ —       $ 4,894,000.00  

JKBX HITS VOL1 00055

  $ 1.45     $ —       $ 1.45     $ 116,000.00     $ —       $ 116,000.00  

JKBX HITS VOL1 00056

  $ 22.49     $ —       $ 22.49     $ 2,249,000.00     $ —       $ 2,249,000.00  

JKBX HITS VOL1 00057

  $ 2.44     $ —       $ 2.44     $ 122,000.00     $ —       $ 122,000.00  

JKBX HITS VOL1 00058

  $ 5.27     $ —       $ 5.27     $ 527,000.00     $ —       $ 527,000.00  

JKBX HITS VOL1 00059

  $ 1.88     $ —       $ 1.88     $ 188,000.00     $ —       $ 188,000.00  

JKBX HITS VOL1 00060

  $ 1.50     $ —       $ 1.50     $ 105,000.00     $ —       $ 105,000.00  

JKBX HITS VOL1 00061

  $ 37.50     $ —       $ 37.50     $ 45,000.00     $ —       $ 45,000.00  

JKBX HITS VOL1 00062

  $ 2.35     $ —       $ 2.35     $ 235,000.00     $ —       $ 235,000.00  

JKBX HITS VOL1 00063

  $ 1.87     $ —       $ 1.87     $ 187,000.00     $ —       $ 187,000.00  

JKBX HITS VOL1 00064

  $ 1.89     $ —       $ 1.89     $ 189,000.00     $ —       $ 189,000.00  

JKBX HITS VOL1 00065

  $ 1.91     $ —       $ 1.91     $ 191,000.00     $ —       $ 191,000.00  

JKBX HITS VOL1 00067

  $ 4.38     $ —       $ 4.38     $ 438,000.00     $ —       $ 438,000.00  

JKBX HITS VOL1 00068

  $ 24.00     $ —       $ 24.00     $ 24,000.00     $ —       $ 24,000.00  

JKBX HITS VOL1 00069

  $ 50.00     $ —       $ 50.00     $ 150.00     $ —       $ 150.00  

JKBX HITS VOL1 00070

  $ 14.63     $ —       $ 14.63     $ 1,463,000.00     $ —       $ 1,463,000.00  

JKBX HITS VOL1 00071

  $ 1.84     $ —       $ 1.84     $ 92,000.00     $ —       $ 92,000.00  

JKBX HITS VOL1 00072

  $ 2.08     $ —       $ 2.08     $ 104,000.00     $ —       $ 104,000.00  

JKBX HITS VOL1 00073

  $ 2.08     $ —       $ 2.08     $ 208,000.00     $ —       $ 208,000.00  

JKBX HITS VOL1 00075

  $ 3.67     $ —       $ 3.67     $ 367,000.00     $ —       $ 367,000.00  

JKBX HITS VOL1 00076

  $ 3.07     $ —       $ 3.07     $ 307,000.00     $ —       $ 307,000.00  

JKBX HITS VOL1 00077

  $ 7.11     $ —       $ 7.11     $ 711,000.00     $ —       $ 711,000.00  

JKBX HITS VOL1 00078

  $ 18.90     $ —       $ 18.90     $ 1,890,000.00     $ —       $ 1,890,000.00  

JKBX HITS VOL1 00079

  $ 1.84     $ —       $ 1.84     $ 138,000.00     $ —       $ 138,000.00  

JKBX HITS VOL1 00080

  $ 1.60     $ —       $ 1.60     $ 64,000.00     $ —       $ 64,000.00  

JKBX HITS VOL1 00081

  $ 30.00     $ —       $ 30.00     $ 3,000.00     $ —       $ 3,000.00  

JKBX HITS VOL1 00082

  $ 2.29     $ —       $ 2.29     $ 229,000.00     $ —       $ 229,000.00  

JKBX HITS VOL1 00084

  $ 1.66     $ —       $ 1.66     $ 166,000.00     $ —       $ 166,000.00  

JKBX HITS VOL1 00085

  $ 7.25     $ —       $ 7.25     $ 725,000.00     $ —       $ 725,000.00  

JKBX HITS VOL1 00086

  $ 1.45     $ —       $ 1.45     $ 145,000.00     $ —       $ 145,000.00  

JKBX HITS VOL1 00087

  $ 25.00     $ —       $ 25.00     $ 50,000.00     $ —       $ 50,000.00  

JKBX HITS VOL1 00088

  $ 6.13     $ —       $ 6.13     $ 613,000.00     $ —       $ 613,000.00  

JKBX HITS VOL1 00089

  $ 27.73     $ —       $ 27.73     $ 2,773,000.00     $ —       $ 2,773,000.00  

JKBX HITS VOL1 00090

  $ 3.71     $ —       $ 3.71     $ 371,000.00     $ —       $ 371,000.00  

JKBX HITS VOL1 00091

  $ 6.92     $ —       $ 6.92     $ 692,000.00     $ —       $ 692,000.00  

JKBX HITS VOL1 00093

  $ 2.17     $ —       $ 2.17     $ 217,000.00     $ —       $ 217,000.00  

JKBX HITS VOL1 00094

  $ 6.89     $ —       $ 6.89     $ 689,000.00     $ —       $ 689,000.00  

JKBX HITS VOL1 00095

  $ 45.00     $ —       $ 45.00     $ 45,000.00     $ —       $ 45,000.00  

JKBX HITS VOL1 00096

  $ 2.01     $ —       $ 2.01     $ 201,000.00     $ —       $ 201,000.00  

JKBX HITS VOL1 00098

  $ 2.38     $ —       $ 2.38     $ 238,000.00     $ —       $ 238,000.00  

JKBX HITS VOL1 00099

  $ 31.00     $ —       $ 31.00     $ 62,000.00     $ —       $ 62,000.00  

JKBX HITS VOL1 00100

  $ 2.18     $ —       $ 2.18     $ 109,000.00     $ —       $ 109,000.00  

JKBX HITS VOL1 00101

  $ 36.00     $ —       $ 36.00     $ 36,000.00     $ —       $ 36,000.00  


Table of Contents
(1)

The Company is offering to sell to investors each of the series of Royalty Shares set forth in this table and as further described in the “Royalty Shares Offering Table” beginning on page 65. Please see the “Royalty Shares Offering Table” beginning on page 65 for additional details of each series of Royalty Shares offered hereby, including the corresponding Royalty Rights, the number of Royalty Shares offered of each series, the price per Royalty Share of each series and the maximum amount that may be raised by the offering of each series of Royalty Shares.

(2)

Each Offering is being conducted by the Company as a direct public offering (i.e., without the benefit of the services of an SEC-registered broker-dealer) on a “best efforts” basis in a “Tier 2” Regulation A offering by the Company and its associated persons through the web-based JKBX Platform. In conducting this offering, associated persons of the Company, including its Manager, which is acting as a statutory underwriter, intend to rely on the exemption from (securities) broker registration requirements provided in Securities and Exchange Act of 1934 (the “Exchange Act”) Rule 3a4-1. We expect to offer Royalty Shares in each Offering until we raise the maximum amount being offered, but there is no guarantee that any minimum amount will be sold. The Company has not engaged commissioned sales agents or broker-dealers. See the section entitled “Plan of Distribution” beginning on page 19 of this Offering Circular for additional information.

Generally, no sale may be made to you in this Offering if the aggregate purchase price you pay is more than 10% of the greater of your annual income or net worth. Different rules apply to accredited investors and non-natural persons. Before making any representation that your investment does not exceed applicable thresholds, we encourage you to review Rule 251(d)(2)(i)(C) of Regulation A. For general information on investing, we encourage you to refer to https://www.investor.gov. We retain complete discretion to determine that subscribers are “qualified purchasers” (as defined in Regulation A under the Securities Act) in reliance on the information and representations provided to us regarding their financial situation.

 

 

An investment in the Royalty Shares involves a high degree of risk and should be made only by persons or entities able to bear the risk of and to withstand the total loss of their investment. Prospective investors should carefully consider and review the information under the heading “Risk Factors” beginning on page 3.

THE SEC DOES NOT PASS UPON THE MERITS OF OR GIVE ITS APPROVAL TO ANY SECURITIES OFFERED OR THE TERMS OF THE OFFERING, NOR DOES IT PASS UPON THE ACCURACY OR COMPLETENESS OF ANY OFFERING CIRCULAR OR OTHER SOLICITATION MATERIALS. THESE SECURITIES ARE OFFERED PURSUANT TO AN EXEMPTION FROM THE REGISTRATION REQUIREMENTS OF THE SECURITIES ACT; HOWEVER, THE SEC HAS NOT MADE AN INDEPENDENT DETERMINATION THAT THE SECURITIES OFFERED ARE EXEMPT FROM REGISTRATION.

WE EXPECT THAT OUR OPERATIONS WILL NOT CAUSE US TO MEET THE DEFINITION OF AN “INVESTMENT COMPANY” UNDER THE INVESTMENT COMPANY ACT OF 1940, AS AMENDED (THE “1940 ACT”), BECAUSE (1) THE COMPANY WOULD BE EXCLUDED FROM THE DEFINITION OF AN INVESTMENT COMPANY UNDER EACH OF SECTIONS 3(B)(1) AND/OR 3(C)(5)(A) OF THE 1940 ACT, (2) AT ALL TIMES OUR SOLE ASSETS WILL CONSIST ONLY OF CASH AND THE ROYALTY RIGHTS, REFERRED TO HEREIN AS THE “ROYALTY RIGHTS,” NEITHER OF WHICH IS DEEMED TO BE A “SECURITY” FOR PURPOSES OF THE 1940 ACT, AND (3) AT ALL TIMES WE WILL NOT BE ENGAGED PRIMARILY IN OWNING, HOLDING, INVESTING OR TRADING IN “SECURITIES” (AS SUCH TERM IS USED FOR PURPOSES OF THE 1940 ACT).

This Offering Circular is part of an offering statement that we filed with the SEC, using a continuous offering process pursuant to Rule 251(d)(3) of Regulation A, meaning that while the offering of securities is continuous, active sales of securities


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may happen sporadically over the term of the Offering. Further, the acceptance of subscriptions via the JKBX Platform may be briefly paused at times to allow us to process and settle subscriptions that have been received effectively and accurately. Periodically, we may provide an Offering Circular supplement that may add, update or change information contained in this Offering Circular. Any statement that we make in this Offering Circular will be modified or superseded by any inconsistent statement made by us in a subsequent Offering Circular supplement. The offering statement we filed with the SEC includes exhibits that provide more detailed descriptions of the matters discussed in this Offering Circular. You should read this Offering Circular and the related exhibits filed with the SEC and any Offering Circular supplement, together with additional information contained in our annual reports, semi-annual reports and other reports and information statements that we will file periodically with the SEC. See the section entitled “Where You Can Find More Information” below for more details.

Our principal office is located at 10000 Washington Blvd., Suite 07-134, Culver City, CA 90232 and our phone number is (213) 290-4817. Information about the Company and its affiliated entities may be found on the JKBX Platform at https://www.jkbx.com. Information contained on, or accessible through, the JKBX Platform is not a part of, and is not incorporated by reference into, this Offering Circular.

This Offering Circular follows the offering circular format described in Part II of Form 1-A.


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TABLE OF CONTENTS

 

THIRD-PARTY DATA

     i  

TRADEMARKS AND COPYRIGHTS

     ii  

CAUTIONARY STATEMENT REGARDING FORWARD-LOOKING STATEMENTS

     iii  

STATE LAW EXEMPTION AND PURCHASE RESTRICTIONS

     v  

SUMMARY

     vi  

TERMS OF THE OFFERING

     xi  

DETERMINATION OF OFFERING PRICE

     1  

DISTRIBUTION POLICY

     2  

RISK FACTORS

     3  

DILUTION

     18  

PLAN OF DISTRIBUTION

     19  

ESTIMATED USE OF PROCEEDS

     28  

DESCRIPTION OF BUSINESS

     29  

MANAGEMENT’S DISCUSSION AND ANALYSIS OF FINANCIAL CONDITION AND RESULTS OF OPERATIONS

     34  

MANAGEMENT

     37  

MANAGEMENT COMPENSATION

     40  

SECURITY OWNERSHIP OF MANAGEMENT AND CERTAIN SECURITYHOLDERS

     41  

DESCRIPTION OF THE TRUST AGREEMENT

     42  

DESCRIPTION OF THE ROYALTY SHARES

     44  

DESCRIPTION OF THE MUSIC ASSETS UNDERLYING THE ROYALTY SHARES

     47  

ROYALTY SHARES OFFERING TABLE

     65  

INTEREST OF MANAGEMENT AND OTHERS IN CERTAIN TRANSACTIONS

     66  

MATERIAL U.S. FEDERAL INCOME TAX CONSIDERATIONS

     68  

ADDITIONAL REQUIREMENTS AND RESTRICTIONS

     71  

LEGAL MATTERS

     72  

ERISA AND RELATED CONSIDERATIONS

     73  

WHERE YOU CAN FIND MORE INFORMATION

     75  

We have not authorized anyone to provide any information other than that contained or incorporated by reference in this Offering Circular prepared by us or to which we have referred you. We take no responsibility for, and can provide no assurance as to the reliability of, any other information that others may give you. This Offering Circular is an offer to sell only the Royalty Shares offered hereby but only under circumstances and in jurisdictions where it is lawful to do so. The information contained in this Offering Circular is current only as of its date, regardless of the time of delivery of this Offering Circular or any sale of Royalty Shares.

For investors outside the United States: We have not done anything that would permit this Offering or possession or distribution of this Offering Circular in any jurisdiction where action for that purpose is required, other than the United States. You are required to inform yourselves about and to observe any restrictions relating to the Offering and the distribution of this Offering Circular.


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THIRD-PARTY DATA

Certain data included in this Offering Circular is derived from information provided by third-parties that we believe to be reliable. The discussions contained in this Offering Circular relating to the Royalty Rights, the artists and songwriters associated with the Music Assets, the music royalties market, and the music industry are taken from third-party sources that the Company believes to be reliable and reasonable, and that the factual information is fair and accurate. Certain data is also based on our good faith estimates which are derived from management’s knowledge of the industry and independent sources. Industry publications, surveys and forecasts generally state that the information contained therein has been obtained from sources believed to be reliable, but there can be no assurance as to the accuracy or completeness of included information. We have not independently verified such third-party information, nor have we ascertained the underlying economic assumptions relied upon therein. The statistical data relating to the music royalties market and music industry is difficult to obtain, may be incomplete, out-of-date, or inconsistent and you should not place undue reliance on any statistical or general and music industry information related to the music royalties market included in this Offering Circular. The music royalties market and music industry data used in this Offering Circular involves a number of assumptions and limitations, and you are cautioned not to give undue weight to such data. While we are not aware of any material misstatements regarding any market, industry or similar data presented herein, such data was derived from third party sources and reliance on such data involves risks and uncertainties.

 

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TRADEMARKS AND COPYRIGHTS

We own or have applied for rights to trademarks or trade names that we use in connection with the operation of our business, including our corporate names, logos and website names. In addition, we own or have the rights to copyrights, trade secrets and other proprietary rights that protect our business. We do not own the copyright to any Music Assets or works underlying the Royalty Rights. This Offering Circular may also contain trademarks, service marks and trade names of other companies, which are the property of their respective owners. Our use or display of third parties’ trademarks, service marks, trade names or products in this Offering Circular is not intended to, and should not be read to, imply a relationship with or endorsement or sponsorship of us. Solely for convenience, some of the copyrights, trade names and trademarks referred to in this Offering Circular are listed without their ©, ® and symbols, but we will assert, to the fullest extent under applicable law, our rights to our copyrights, trade names and trademarks. All other trademarks are the property of their respective owners.

 

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CAUTIONARY STATEMENT REGARDING FORWARD-LOOKING STATEMENTS

This Offering Circular contains certain “forward-looking statements” that include, but are not limited to statements regarding the Company’s financial conditions, results of operations, plans, objectives, future performance, and business, and that are subject to various risks and uncertainties. Forward-looking statements are generally identifiable by use of forward-looking terminology such as “may,” “will,” “should,” “potential,” “plan,” “intend,” “expect,” “outlook,” “seek,” “anticipate,” “estimate,” “approximately,” “believe,” “could,” “project,” “predict,” the negative of these terms, or other similar words or expressions, but the absence of these terms does not mean that a statement is not forward-looking.

Forward-looking statements are based on certain assumptions, discuss future expectations, describe future plans and strategies, or state other forward-looking information. Our ability to predict future events, actions, plans, operations or strategies is inherently uncertain. These statements are only predictions, and actual events or results may differ materially from such statements. Although we believe that the expectations reflected in our forward-looking statements are based on reasonable assumptions, actual outcomes could differ materially from those set forth or anticipated in our forward-looking statements. Factors that could cause our forward-looking statements to differ from actual outcomes include, but are not limited to those described under the section entitled Risk Factors and the following:

 

   

our ability to attract investors to purchase Royalty Shares on the JKBX Platform;

 

   

difficulties in identifying and sourcing Royalty Rights to acquire and our ability to attract and maintain relationships with music catalogs, record labels and other parties from who we may purchase Royalty Rights;

 

   

our ability to successfully manage or administer the Royalty Shares and the acquired Royalty Rights;

 

   

our future financial performance, including our expectations regarding our net revenue, operating expenses, and our ability to achieve and maintain future profitability;

 

   

our business plan and our ability to effectively manage any growth;

 

   

the demand for investment in music royalties and changes in the music market generally;

 

   

the value of the Royalty Rights in the underlying Music Asset and how this will affect our business;

 

   

timing of the Royalty Share Payments;

 

   

the manner by which Income Interests will be treated in the case of bankruptcy by the owner of the underlying Music Asset;

 

   

anticipated trends, growth rates, and challenges in our business, the music industry, the price and market capitalization of music assets and in the markets in which we operate;

 

   

our ability to maintain, expand, and further penetrate our existing customer base;

 

   

our ability to grow our business in response to changing technologies, customer demand, and competitive pressures;

 

   

the effects of increased competition in our markets and our ability to compete effectively;

 

   

our expectations concerning relationships with third parties;

 

   

our ability to maintain, protect, and enhance our intellectual property;

 

   

our ability to stay in compliance with laws and regulations that currently apply or become applicable to our business both in the United States and internationally given the highly evolving and uncertain regulatory landscape;

 

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general macroeconomic conditions, including interest rates, inflation, economic downturns and industry trends, projected growth, or trend analysis;

 

   

trends in revenue and operating expenses for us and the Manager, including technology and development expenses, sales and marketing expenses, and general and administrative expenses, and expectations regarding these expenses as a percentage of revenue;

 

   

our key business metrics used to evaluate our business, measure our performance, identify trends affecting our business, and make strategic decisions;

 

   

other statements regarding our future operations, financial condition, and prospects and business strategies.

 

   

legislative or regulatory changes impact our business or our assets (including SEC guidance related to Regulation A or the JOBS Act);

 

   

our ability to implement effective conflicts of interest policies and procedures among the Royalty Rights acquisition opportunities presented to us;

 

   

risks associated with breaches of our data security; and

 

   

changes to U.S. GAAP.

Any of the assumptions underlying forward-looking statements could be inaccurate. Prospective investors are cautioned not to place undue reliance on any of these forward-looking statements, which reflect our views as of the date of this Offering Circular and the risk that actual results will differ materially from the expectations expressed in this Offering Circular will increase with the passage of time. Furthermore, except as required by law, we are under no duty to, and do not intend to, update any of our forward-looking statements after the date of this Offering Circular, whether as a result of new information, future events or otherwise. In light of significant uncertainties inherent in the forward-looking statements included in this Offering Circular, including, without limitation, the risks described under “Risk Factors,” the inclusion of such forward-looking statements should not be regarded as a representation by us or any other person that the objectives and plans set forth in this Offering Circular will be achieved.

 

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STATE LAW EXEMPTION AND PURCHASE RESTRICTIONS

The Royalty Shares are being offered and sold only to “qualified purchasers” (as defined in Regulation A under the Securities Act). As a Tier 2 offering pursuant to Regulation A under the Securities Act, this Offering is exempt from state law “Blue Sky” review, subject to meeting certain state filing requirements and complying with certain anti-fraud provisions, to the extent that the Royalty Shares offered hereby are offered and sold only to “qualified purchasers” or at a time when the Royalty Shares are listed on a national securities exchange. “Qualified purchasers” include: (i) “accredited investors” under Rule 501(a) of Regulation D under the Securities Act and (ii) all other investors so long as their investment in the Royalty Shares does not represent more than 10% of the greater of their annual income or net worth (for natural persons) or 10% of the greater of annual revenue or net assets at fiscal year-end (for non-natural persons). Accordingly, we reserve the right to reject any investor’s subscription in whole or in part for any reason, including if we determine in our sole and absolute discretion that such investor is not a “qualified purchaser” for purposes of Regulation A.

To determine whether a potential investor is an “accredited investor” for purposes of satisfying one of the tests in the “qualified purchaser” definition, the investor must be a natural person who:

 

  1.

has a net worth, or joint net worth with the person’s spouse or spousal equivalent, that exceeds $1,000,000 at the time of the purchase, excluding the value of the primary residence of such person; or

 

  2.

had earned income exceeding $200,000 in each of the two most recent years or joint income with a spouse or spousal equivalent exceeding $300,000 for those years and has a reasonable expectation of reaching the same income level in the current year; or

 

  3.

is holding in good standing one or more professional certifications or designations or credentials from an accredited educational institution that the SEC has designated as qualifying an individual for accredited investor status; or

 

  4.

is a “family client,” as defined by the Investment Advisers Act of 1940, of a family office meeting the requirements in Rule 501(a) of Regulation D and whose prospective investment in the issuer is directed by such family office pursuant to Rule 501(a) of Regulation D.

For purposes of determining whether a potential investor is a “qualified purchaser,” annual income and net worth should be calculated as provided in the “accredited investor” definition under Rule 501 of Regulation D. In particular, net worth in all cases should be calculated excluding the value of an investor’s home, home furnishings and automobiles.

USE OF CERTAIN TERMS AND DEFINITIONS

In this Offering Circular, unless the context indicates otherwise, the following terms have the following meaning:

 

   

Holder” refers to any beneficial owner of a Royalty Share.

 

   

Jukebox Holding” refers to Jukebox Co., a Delaware corporation.

 

   

Manager” refers to Double Platinum Management LLC, a Delaware limited liability company.

 

   

Royalty Share or Royalty Shares refers to the contractual right to receive a specified portion of Income Interests we receive that relate to Royalty Rights for a specific Music Asset or a compilation of Music Assets (as applicable) set forth in the Royalty Shares Offering Table beginning on page 65.

 

   

we”, “our”, “ours”, “us”, “Jukebox Hits Vol. 1” or the “Company” refer to Jukebox Hits Vol. 1 LLC, a Delaware limited liability company, and, as the context requires, any wholly owned subsidiaries thereof and the Trust (if applicable).

 

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SUMMARY

This summary highlights selected information contained elsewhere in this Offering Circular. This summary does not contain all of the information you should consider before investing in the Royalty Shares. You should read this entire Offering Circular carefully, especially the risks of investing in the Royalty Shares discussed under “Risk Factors,” before making an investment decision. You are encouraged to seek the advice of your attorney, tax consultant and financial advisor with respect to the legal, tax and financial aspects of an investment in the Royalty Shares.

Overview

In the last eight years, the music industry has grown each consecutive year, with 2022 marking 9% growth from 2021, according to a 2022 report from the International Federation of the Phonographic Industry. The global music market forecasts for 2022 and 2023 are increasing by 7% and 5% respectively, while 2030 forecasts are increasing by 10%, as reported in Goldman Sachs, “Music in the Air,” Equity Research June 13th, 2022 report. The popularity of music streaming services such as Spotify are largely responsible for this growth, with 589 million users worldwide subscribing to a music streaming service. Streaming services make a variety of music more accessible to a listener, and the market has responded accordingly. However, while music has become increasingly more accessible to listeners, there are still no equally accessible methods for a listener to take part in investment opportunities for their favorite songs and albums.

Jukebox Technology, a wholly owned subsidiary of Jukebox Holding and affiliate of the Company, owns the online platform www.jkbx.com (the “JKBX Platform”). The JKBX Platform was formed to, among other things, provide users with new ways in which to engage with the content of their favorite artists and musicians and to address the lack of opportunities to invest in the music market and music-related assets. The JKBX Platform allows investors to hold interests in music-related investment opportunities that may have been historically difficult to access for some investors. Using the JKBX Platform, platform users can engage with artist-related content and opportunities, while users interested in investing in music-related assets can browse and screen related investment opportunities, view details of an investment and sign legal documents online.

The Company was formed as a Delaware limited liability company on April 3, 2023 to facilitate and manage investors’ economic exposure to Royalty Rights (as defined above on the Cover Page). The Company will facilitate and manage investors’ economic exposure to the Royalty Rights by issuing contractual rights (known as Royalty Shares) to receive a specified portion of Income Interests we receive that relate to Royalty Rights for a specific Music Asset or compilation of Music Assets (as applicable) set forth in the “Royalty Shares Offering Table” beginning on page 65 to investors in this Offering. By purchasing Income Interests relating to certain Music Assets from Income Interest Owners, we will have the Royalty Rights derived from a given set of Music Assets. We will be able to offer Royalty Shares related to recordings and compositions as an investment opportunity to investors through our associated persons on the JKBX Platform, thereby allowing them to indirectly participate in Royalty Rights associated with their favorite songs.

We plan to use the proceeds from this Offering to fund the acquisition costs of the Royalty Rights, ongoing costs and expenses associated with the Offering, and holding and managing the rights of investors in the Royalty Shares. We plan to achieve these goals by working with Jukebox Holding to source Music Assets and negotiate and enter into Purchase Agreements related to such Music Assets and their respective Income Interests. As referred to herein, Royalty Rights are the Company’s aggregate and specifically negotiated passive (non-operating) Income Interests in certain Music Assets obtained pursuant to the Company’s Purchase Agreements that provide the Company with the right to revenue generated from, among other things, the purchase, use, consumption, exploitation, and/or licensing of Music Assets by third parties as memorialized in each respective Purchase Agreement. This revenue may include revenue generated from activities including, but not limited to, streaming, downloads, physical album sales and other forms of usage in films, television and advertisements.

The Music Assets

A given musical asset, such as a composition or sound recording, is generally comprised of two copyrights: (1) the musical composition copyright and (2) the sound recording copyright. Typically, there are multiple people or entities that own and control portions of both the musical composition copyright and the sound recording copyright, including recording artists, songwriters, publishers, record labels, and investment firms and/or funds, or others.

Each copyright in a given song generates separate and distinct revenue streams for the copyright owner. Just as with copyright ownership, multiple people and entities typically own and control an Income Interest related to or derived from a Music Asset. Income Interests are generated by various sources.

As described further below, we will purchase a subset of an Income Interest Owner’s total Income Interests and accordingly will have the right to collect and receive a portion of the Income Interests related to or derived from a given set of Music Assets (i.e., the Royalty Rights). Copyright owners retain the copyright in and to the compositions and recordings but may separately retain a certain percentage of the Income Interest as well. Each series of Royalty Shares shall correspond to specific Royalty Rights and the Company shall distribute Royalty Share Payments related to such Royalty Rights to the Holders of the corresponding series of Royalty Shares on a pro rata basis (less any fees and expenses as further described herein).

 

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The Purchase Agreements and Royalty Rights

We engage with Income Interest Owners to acquire Income Interests of Music Assets pursuant to one or more separately negotiated Purchase Agreements. The Company has entered into the Purchase Agreements described in “Description of the Music Assets Underlying the Royalty Shares.” Pursuant to the Purchase Agreements, the Income Interest Owners will sell their passive Income Interests (but not the copyright, administration, or distribution rights) in certain Music Assets to the Company, as well as a right, if available in certain cases, to use any artist or songwriter materials in the Company’s marketing and promotions.

The Company has entered into a Purchase Agreement, dated as of November 5, 2023 (the “Coda Purchase Agreement”), with Coda Songs LLC, a Delaware limited liability company (“Coda”), pursuant to which Coda has agreed to make a portion of its Income Interests in certain Compositions and Recordings available for purchase by the Company and the Company will have an option (but not an obligation) to acquire some or all of such portion of its Income Interests in accordance with the terms and conditions of the Coda Purchase Agreement. The Coda Purchase Agreement was not negotiated at arm’s length. See “Description of the Music Assets Underlying the Royalty Shares—Coda Purchase Agreement” and “Interest of Management and Others in Certain Transactions” for more information.

The Company and the Royalty Shares

The Company is a Delaware limited liability company formed on April 3, 2023 by the filing of the Certificate of Formation with the Secretary of State of the State of Delaware in accordance with the provisions of the Delaware Limited Liability Company Act (the “Delaware LLC Act”). The Company will issue Royalty Shares on an ongoing basis to “qualified purchasers” within the meaning of Regulation A under the Securities Act. Royalty Shares represent the contractual right to receive a specified portion of Income Interests we receive that relate to a specific Music Asset as set forth in the “Royalty Shares Offering Table”. The Company will manage all entity-level administrative services relating to the Purchase Agreements, the Royalty Shares, and the Company. Royalty Shares are being issued to provide investors in this Offering with economic exposure to the corresponding Royalty Rights held by the Company, less the Company’s expenses and other liabilities. The Royalty Shares are intended to provide investors with a convenient way to obtain indirect exposure to Royalty Rights.

The Company will not conduct any business activities except for activities relating to an investment in, and maintenance and promotion of the Royalty Rights and the offering, issuance, and servicing of Royalty Shares. Besides the income derived from the Purchase Agreements, and any ongoing fees collected from our servicing of the Royalty Shares, we do not expect to generate any material amount of revenues or cash flow.

Royalty Shares purchased directly from the Company pursuant to this Offering Circular under Regulation A are not restricted securities that may be resold by the purchasers thereof in transactions exempt from registration under the Securities Act and state securities laws. See “Description of the Royalty Shares—Transfer Restrictions” for more information. There is no guarantee that an active trading market for the Royalty Shares will develop.

The Company will not operate a redemption program for the Royalty Shares. Royalty Shares are not redeemable by the Company. Because the Company will not operate a redemption program, there can be no assurance that the value of the Royalty Shares will reflect the value of the Royalty Rights, or the underlying Music Asset or compilation of Music Assets (as applicable), that such series of Royalty Shares relates to, and, in the event a trading market for the Royalty Shares develops, the Royalty Shares may trade at a substantial premium over, or discount to, the value of the Royalty Rights or the underlying Music Assets per Royalty Share. The Royalty Shares may also trade at a substantial premium over, or a substantial discount to, the value of the Royalty Rights or the underlying Music Assets per Royalty Share as a result of a number of reasons currently unforeseeable.

Jukebox Hits Vol. 1 Trust

The Company will convey, or cause to be conveyed, any Royalty Rights it receives pursuant to the Purchase Agreements and any Royalty Share Payments payable to Holders of Royalty Shares to a newly formed statutory trust established under Delaware state law (the “Trust”), which will hold the Royalty Rights. The Trust will be created to acquire and hold Royalty Rights and Royalty Share Payments, pending distribution to Holders of Royalty Shares, for the benefit of the Holders of Royalty Shares pursuant to a trust agreement (the “Trust Agreement”) among the Company, in its separate and distinct capacities as grantor of the Trust and Management Trustee, and Delaware Trust Company, in its capacity as Delaware Trustee. For additional information, see “Description of the Trust Agreement.”

Manager, Administrative Services and Expenses

The Second Amended and Restated Limited Liability Company Agreement of the Company (as amended from time to time, the “Operating Agreement”) designates the Manager as the managing member of the Company for purposes of the Delaware LLC Act. The Manager, in its capacity as the sole member and manager of the Company and pursuant to the Operating Agreement, is responsible for managing and performing the various administrative functions necessary for our day-to-day operations, including managing relationships with vendors and third-party service providers. The Manager pays organizational and offering-related costs on our behalf in connection with the offering of Royalty Shares, as well as other costs and expenses on our behalf. The Company will reimburse the Manager for ordinary and necessary organizational and offering-related costs it incurs on our behalf, and for costs and expenses it incurs internally or from third-party service providers on our behalf. See “Estimated Use of Proceeds,” “Management,” and “Management Compensation” for further details. The Manager does not provide any services to the Company pursuant to any other agreement or arrangement.

 

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Distributions

All monies associated with Income Interests received by us pursuant to the Purchase Agreements will be held in a designated bank account and generally distributed once per calendar quarter to the JKBX Platform accounts of the Holders of the corresponding Royalty Shares as further described below under the section entitled “Distribution Policy,” subject to the terms of the applicable Royalty Share Agreement. In addition, the terms of use of the JKBX Platform, which is included as Exhibit 6.3 to the offering statement, may include restrictions on a Holder’s ability to withdraw amounts in their JKBX Platform account to other financial institutions, including, but not limited to, a minimum withdrawal threshold.

Pursuant to the applicable Royalty Share Agreement, the Company shall receive a fee equal to 1.0% of the gross monies associated with Income Interests received by us in respect of the Royalty Rights (the “Royalty Fee”). The Royalty Fee shall be deducted from the gross monies associated with Income Interests received by us and retained by the Company before Royalty Share Payments are made to the Holders of the corresponding series of Royalty Shares. The Royalty Fee shall only be collected by the Company on gross monies associated with Income Interests actually received by us in relation to the corresponding series of Royalty Shares. If there are no gross monies associated with Income Interests received by us during a period, the Company will not collect this fee for such period (i.e., no such fee shall be charged to any Royalty Shares).

See the “Description of the Royalty Shares—Distributions” and “Distribution Policy” sections of this Offering Circular for more information.

About the JKBX Platform

The Company is also an affiliate of Jukebox Technology, the owner of the JKBX Platform, an online platform focused on providing music lovers and investors access to Music Asset-related content, investment and other opportunities, which may be found on the JKBX Platform at https://www.jkbx.com. Jukebox Technology LLC is a wholly-owned subsidiary of Jukebox Holding.

 

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Organizational Structure

 

LOGO

 

  (1)

Jukebox Co. is a Delaware corporation and the parent company of Jukebox Technology LLC and Double Platinum Management LLC.

 

  (2)

Jukebox Technology LLC is a Delaware limited liability company which owns the JKBX Platform and associated website located at https://www.jkbx.com.

 

  (3)

Double Platinum Management LLC is a Delaware limited liability company and the sole member and manager of the Company pursuant to the Operating Agreement.

 

  (4)

Jukebox Hits Vol. 1 LLC is a Delaware limited liability company, the “Company” referred to in this Offering Circular and the issuer in the Offering. The Company is managed by the Manager pursuant to the Company’s Operating Agreement.

 

  (5)

Royalty Shares” refers to the contractual right to receive a specified portion of Income Interests we receive that relate to Royalty Rights for a specific Music Asset or a compilation of Music Assets (as applicable) set forth in the “Royalty Shares Offering Table” beginning on page 65.

 

  (6)

Royalty Share Payment” refers to payment of the pro rata portion of the amounts we receive from the specified Royalty Rights that correspond to such series of Royalty Shares (less any fees and expenses as further described herein) purchased by an investor.

 

  (7)

Trust” refers to the statutory trust established under the laws of the State of Delaware, which will hold the Royalty Rights and Royalty Share Payments, pending distribution to Holders of Royalty Shares, for the benefit of the Holders of Royalty Shares pursuant to trust agreement among the Company, in its separate and distinct capacities as grantor of the Trust and Management Trustee, and Delaware Trust Company, in its capacity as Delaware Trustee.

 

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Risk Factors

An investment in the Royalty Shares includes a number of risks and uncertainties which are described in the “Risk Factors” section of this Offering Circular, including, but not limited to, the following:

Risks Related to Our Business Model. There are few businesses that have pursued a strategy or investment objective similar to ours, which may make it difficult for the Company and the Royalty Shares to gain market acceptance.

Risks Related to the Music Industry. Income generated by Income Interests may be reduced if the recorded music industry fails to grow or streaming revenue fails to grow at a sufficient rate to offset download and physical sale declines. Changes in technology may also affect our ability to receive payments in respect of the Royalty Rights.

Risks Related to the Offering and Ownership of Royalty Shares. The investment in the Offering constitutes only an investment in the Royalty Shares and not in the Company or directly in any underlying Music Asset. Further, the initial offering prices of the Royalty Shares are established by the Manager on an arbitrary basis, and bear no relationship to our book or asset values or to any other established criteria for valuing Royalty Shares. There is currently no public trading market for the Royalty Shares and an active market may not develop or be sustained. Even if a public market does develop, it may not provide an effective means of selling your Royalty Shares and the market price could decline below the amount an investor paid for the Royalty Shares or fluctuate significantly for many reasons.

Risks Related to the Company. The value of the Royalty Shares may be influenced by a variety of factors unrelated to the performance of the underlying Music Asset, such as unanticipated problems or issues with the mechanics of the Company’s operations or the trading of the Royalty Shares.

Risks Related to Potential Conflicts of Interest. Potential conflicts of interest may arise among Jukebox Holding or its affiliates and the Company. Jukebox Holding and its affiliates have no fiduciary duties to the Company or Holders, which may permit them to favor their own interests to the detriment of the Company or Holders.

Company Information

Our principal office is located at 10000 Washington Blvd., Suite 07-134, Culver City, CA 90232 and our phone number is (213) 290-4817. Our website address is at https://www.jkbx.com. Information contained on, or accessible through, the website is not a part of, and is not incorporated by reference into, this Offering Circular.

 

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TERMS OF THE OFFERING

 

Royalty Shares Offered:

  

Royalty Shares, issued in series, with each series of Royalty Shares representing the contractual right to receive a specified portion of Income Interests we receive that relate to Royalty Rights for a specific Music Asset or compilation of Music Assets (as applicable) set forth in the “Royalty Shares Offering Table” beginning on page 65. Holders of the Royalty Shares are entitled to Royalty Share Payments based on the monies associated with Income Interests received from a Royalty Right, which the Company shall acquire pursuant to the terms of the applicable Purchase Agreements relating to the Music Assets set forth in the “Composition and Recording Rights” table beginning on page 48 of this Offering Circular. The Royalty Shares are unsecured limited obligations of the Company, do not have any voting rights, and do not represent any ownership interest in the Company. The purchase of a series of Royalty Shares is an investment only related to the monies flowing from that particular Royalty Right of the Company and does not create any rights to payments from any other Royalty Rights of the Company. The Purchase Agreements gives the Company the right, but not the obligation, to purchase Income Interests relating to a specific Music Asset subject to the terms and conditions of such Purchase Agreements, through the proceeds of the Offering. After qualification of an offering statement, the Company may add additional Royalty Shares or series of Royalty Shares by post-qualification amendment to the offering statement.

Offering Price per Royalty Share:

  

The offering price per Royalty Share for each series of Royalty Shares offered hereby is set forth in the table presented on the Cover Page of this Offering Circular.

Minimum Investment Amount:

  

The minimum purchase threshold per investor per series of Royalty Shares is one (1) Royalty Share. However, we reserve the right to waive minimum purchase restrictions on a case-by-case basis in our sole discretion. Subscriptions, once received, are irrevocable by the investors but can be rejected by us prior to acceptance.

Subscribing Online and Investment Documents:

  

Jukebox Technology owns a web-based platform located at https://www.jkbx.com (the “JKBK Platform”). The Company licenses the JKBK Platform in order to facilitate, through its associated persons, investor acquisitions of the Royalty Shares. After establishing a user account on the JKBX Platform, an investor may view details of an investment, and sign contractual documents online. After the qualification by the SEC of the offering statement of which this Offering Circular is a part, the Offering will be conducted by the Company and its associated persons through the JKBX Platform, whereby investors will receive, review, execute and deliver subscription agreements (in substantially the form as attached hereto as Exhibit 4.1; the “Subscription Agreements”) electronically. For additional information, see “Plan of Distribution—Procedures for Subscribing.”

  

In addition to the Subscription Agreement, each investor must agree to the Royalty Share Agreement, which governs the offer and sale of each particular series of Royalty Shares, as well as certain rights and obligations of a series of Royalty Shares and of the Company. The standard form of Royalty Share Agreement is attached as Exhibit 3.1 to this Offering Circular. Investors may review the form of Royalty Share Agreement applicable to a particular series of Royalty Shares by accessing the hyperlink accompanying the information provided about the corresponding Royalty Rights (and underlying Music Asset) on the JKBX Platform.

 

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Broker:

  

The Offering is being conducted by the Company as a direct public offering on a “best-efforts” basis through the web-based JKBX Platform. The Company has not engaged commissioned sales agents or broker-dealers and, in conjunction with its associated persons, plans to distribute the Offering through the JKBX Platform.

Custodian:

  

The Company will enter into a custody agreement with Brassica Trust Company, LLC (the “Custodian”), a form of which is included as Exhibit 6.5 to the offering statement. Investors will also be required to enter into the custody agreement with the Custodian in order to open an account on the JKBX Platform with the Custodian for the purpose of holding Royalty Shares and cash, with any information necessary to create the account being provided by the investor through the JKBX Platform.

Payment for the Royalty Shares:

  

After the qualification by the SEC of the offering statement of which this Offering Circular is a part, investors can make payment of the purchase price in the manner described in the “Plan of Distribution” below. We may also permit payment to be made by credit cards, provided that such payments may be subject to additional restrictions. Investors contemplating using their credit card to invest are urged to carefully review “Risk Factors—Risks of investing using a credit card.” Upon the Company’s acceptance of a subscription, and the corresponding investor’s payment of the applicable purchase amount to the Company, the associated Royalty Shares will be issued to the investors in this Offering.

Investment Amount Restrictions:

  

Generally, no sale may be made to you in this Offering if the aggregate purchase price you pay is more than 10% of the greater of your annual income or net worth. Different rules apply to accredited investors and non-natural persons. Before making any representation that your investment does not exceed applicable thresholds, you are encouraged to review Rule 251(d)(2)(i) of Regulation A. For general information on investing, you are encouraged to refer to www.investor.gov.

Worldwide Royalty Shares:

  

The Royalty Shares will be offered worldwide, provided that we may elect not to sell Royalty Shares in certain jurisdictions for regulatory or other reasons. No sales of the Royalty Shares will be made anywhere in the world prior to the qualification of the Offering Circular by the SEC in the United States. All Royalty Shares will be offered everywhere in the world at the same U.S. dollar price that is set forth in this Offering Circular.

Estimated Use of Proceeds:

  

The proceeds received in this Offering will be applied in the following order of priority of payment:

 

•  Cash Consideration for the Acquisition of Royalty Rights: Actual cost the Company incurs in purchasing the Company’s relevant Royalty Rights pursuant to the Purchase Agreement(s) related to each of the corresponding series of Royalty Shares;

 

•  Reimbursement of Organizational and Offering Costs: Reimbursement of Manager for ordinary and necessary costs it incurs in connection with our organization and the offering of Royalty Shares (“O&O Costs”) up to a maximum of 0.50% of the aggregate gross offering proceeds from this Offering. We anticipate that reimbursement payments for O&O Costs will be made to the Manager in monthly installments. To the extent O&O Costs exceed the maximum amount reimbursable, the Manager shall bear such costs that exceed the portion reimbursable by us. The Manager may, at its sole discretion, decide to defer or waive any portion of the O&O Costs incurred. All or any portion of any deferred O&O Costs may be deferred without interest and payable when the Manager determines. See “Estimated Use of Proceeds” for more information about the types of costs that may be incurred, including expenses, “Plan of Distribution” for more information on the process by which Royalty Shares will be distributed, and “Management Compensation” for a description of fees and expenses that we pay Manager.

 

•  Net Proceeds to Company: Remaining proceeds received go to Company for working capital and operating expenses related to the ongoing services the Company will provide to Royalty Share Holders, including the provision of ongoing administrative services related to the Royalty Shares.

  

Offering Commissions: Note that purchasers of Royalty Shares in this Offering do not pay any commissions or transaction-based compensation to the Company, any of its associate persons, or otherwise in connection with the Offering. Additionally, investors do not pay any dealer manager fee or other service-related fee in connection with the offer and sale of Royalty Shares through the JKBX Platform.

 

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Risk Factors:

  

Investing in the Royalty Shares involves risks. See the section entitled “Risk Factors” for a discussion of factors you should carefully consider before deciding to invest in the Royalty Shares.

Closings:

  

The Company will close sales of Royalty Shares to investors in the Offering on an ongoing, continuous basis and will purchase Income Interests pursuant to each applicable Purchase Agreement in the form of Royalty Rights as proceeds from the Offering are received by the Company from investors through the sale of Royalty Shares in the Offering that correspond to such Royalty Rights. If any of the Royalty Shares offered remain unsold as of the final closing, such Royalty Shares shall remain unissued by the Company. The Company is seeking to qualify an amount of Royalty Shares that it reasonably expects to be able to sell within two (2) years from the date of initial qualification. In any event, however, the Offering will not exceed three (3) years from the date of commencement in accordance with Rule 251(d)(3)(F) of Regulation A. The Company reserves the right to terminate the Offering for any reason at any time prior to the final closing.

Transfer Restrictions:

  

The Royalty Shares may only be transferred by operation of law or on a trading platform approved by the Company, such as the ATS, or with the prior written consent of the Company.

Transfer Agent and Registrar:

  

Brassica Services LLC, an SEC-registered transfer agent.

Distributions:

  

The Royalty Share Agreements shall provide that all monies associated with Income Interests received by us pursuant to the Purchase Agreements will generally be distributed once per calendar quarter to the JKBX Platform accounts of the Holders of the corresponding Royalty Shares, subject to a fee equal to 1.0% of the gross monies associated with Income Interests received by us in respect of the Royalty Rights (the “Royalty Fee”), which fee shall be deducted from the gross monies associated with Income Interests received by us and retained by the Company before Royalty Share Payments are made to Holders of the corresponding series of Royalty Shares. If there are no gross monies associated with Income Interests received by us during a period, the Company will not collect this fee for such period (i.e., no such fee shall be charged to any Royalty Shares). See the section entitled “Distribution Policy” and the form of Royalty Share Agreement attached as Exhibit 3.1 to this Offering Circular.

 

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DETERMINATION OF OFFERING PRICE

The initial offering price of the Royalty Shares was determined by the Manager on an arbitrary basis. The selling price of the Royalty Shares bears no relationship to our book or asset values or to any other established criteria for valuing Royalty Shares.

 

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DISTRIBUTION POLICY

All monies associated with Income Interests received by us pursuant to the Purchase Agreements will be held in a designated bank account and generally distributed once per calendar quarter to the JKBX Platform accounts of the Holders of the corresponding Royalty Shares as further described below, subject to the terms of the applicable Royalty Share Agreement. In addition, the terms of use of the JKBX Platform, which is included as Exhibit 6.3 to the offering statement, may include restrictions on a Holder’s ability to withdraw amounts in their JKBX Platform account to other financial institutions, including, but not limited to, a minimum withdrawal threshold.

The Royalty Share Agreements shall provide that, during each full calendar quarter that begins following the six-month anniversary of the original issue date of a series of Royalty Shares, the Company shall declare with respect to such series (a) the amount of distributions payable per Royalty Share of such series on the next designated payment date and (b) a record date and payment date for such distributions. Each designated payment date shall be no later than forty five (45) calendar days after the end of the calendar quarter in which such payment date is declared by the Company. On each payment date, the amount of distributions payable per Royalty Share of the applicable series shall be paid to the person in whose name each Royalty Share is registered at the close of business on the applicable record date designated by the Company.

Pursuant to the applicable Royalty Share Agreement, the Company shall receive a fee equal to 1.0% of the gross monies associated with Income Interests received by us in respect of the Royalty Rights (the “Royalty Fee”). The Royalty Fee shall be deducted from the gross monies associated with Income Interests received by us and retained by the Company before Royalty Share Payments are made to the Holders of the corresponding series of Royalty Shares. The Royalty Fee shall only be collected by the Company on gross monies associated with Income Interests actually received by us. If there are no gross monies associated with Income Interests received by us during a period, the Company will not collect this fee for such period (i.e., no such fee shall be charged to any Royalty Shares).

In some instances, Income Interest payments made in respect of the Royalty Rights may be made more or less frequently than quarterly. If multiple Income Interest payments are made in a single quarter, we will accrue those Income Interest payments and make one single Royalty Share Payment to Holders of the applicable series of Royalty Shares following the end of the calendar quarter in which we received those Income Interest payments. Conversely, if Income Interest payments are made less frequently than quarterly (for example, bi-annually), then there will be no Royalty Share Payment made until a distribution is declared following the end of the calendar quarter in which the Income Interest payment is received. See “Risk Factors—Royalty Rights and Income Interests are subject to risks relating to the music industry and such risks may reduce or eliminate the royalties, fees and other income streams that would otherwise accrue with respect to a song.

Prior to the distribution of the Royalty Share Payment to the applicable Holders in accordance with the process described above, the Company shall manage any monies associated with Income Interests received by investing them in cash, cash equivalents and other high credit quality, short-term investments in accordance with our investment policy designed to protect the principal investment. Our investment policy is to manage investments to achieve the financial objectives of preservation of principal, liquidity and return on investment. A portion of the investment portfolio shall be held in cash and cash equivalents. Investments may also be made in U.S. bank securities and bank deposits, U.S. government securities and commercial paper of U.S. bank or industrial companies, and highly rated and well-diversified money market funds. Any interest and other investment income generated by these investing activities shall be retained by the Company and shall not be distributed to Holders. Distributions to Holders pursuant to the Royalty Share Agreements shall be limited, in all circumstances, to an amount equal to the net monies associated with Income Interests received by us after deduction of the Royalty Fee. While the Company’s investment policy is to manage investments to preserve principal, there is always a risk that principal may be lost in any investment made by the Company and, if so, the Company may lack the funds necessary to make some or all of the distributions of the Royalty Share Payment as required by the Royalty Share Agreements.

The above discussion regarding the Royalty Shares and Royalty Share Agreements is qualified in its entirety by the form of Royalty Share Agreement, which is included as Exhibit 3.1 to the offering statement of which this Offering Circular forms an integral part.

 

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RISK FACTORS

The purchase of the Royalty Shares offered hereby involves a high degree of risk. Each prospective investor should consult his, her or its own counsel, accountant and other advisors as to legal, tax, business, financial, and related aspects of an investment in the securities offered hereby. Prospective investors should carefully consider the following specific risk factors and the other information set forth in this Offering Circular before purchasing the securities offered hereby.

Risks Related to our Business Model

The Company was recently formed, and has no track record or operating history from which you can evaluate this investment. Our business model is untested.

The Company was formed on April 3, 2023 and has no operating history. We cannot make any assurance that our business model can be successful. Since inception, the scope of our operations has been limited to our formation. Our operations will be dedicated to holding and managing the Royalty Rights. It is difficult to predict whether this business model will succeed or if there will ever be any profits realized from an investment in the Royalty Shares. No guarantee can be given that the Company will successfully employ the Royalty Rights to create return for investors in the Royalty Shares.

We currently are not generating sufficient revenue to carry out our planned business operations. We expect our operations to continue to consume substantial amounts of cash.

We expect that, until we acquire a sufficient amount of Royalty Rights, we will not be generating sufficient revenue to carry out our planned operations. In order to generate sufficient revenues to carry out our plan of operations and cover our expenses, including the expenses of this Offering, we believe we will need to continue to acquire Royalty Rights until we reach a sufficient scale. We expect that our costs may increase as we continue identifying and negotiating with artists and record labels and entering into new Purchase Agreements and thereby incurring more costs. If a lack of available capital means that we are unable to expand our operations or otherwise take advantage of business opportunities, our business, financial condition and results of operations could be adversely affected.

There are few businesses that have pursued a strategy or investment objective similar to ours, which may make it difficult for the Company and the Royalty Shares to gain market acceptance.

We believe that few other businesses crowdfund royalty rights (or similar related interests) or propose to run a platform for crowdfunding royalty rights. The Company and our Royalty Shares may not gain market acceptance from potential investors, Income Interest Owners or service providers within the music industry.

Competition from the emergence or growth of other business models involving the investment in music royalty rights could have a negative impact on the value of the Royalty Shares.

While there are currently few businesses that have pursued a strategy or investment objective similar to ours, other businesses may emerge in the future operating in ways that are competitive against our business model. Such competition could have a negative impact on the demand for, and price of, the Royalty Shares.

In the event an Interest Income Owner to a Purchase Agreement breaches the terms of such Purchase Agreement, we may have limited recourse, which may result in the inability to collect any monies associated with the Income Interests from such Income Interest Owner represented and we may not be able to recover funds paid to the Income Interest Owner to reimburse the Holder.

Each Purchase Agreement will be between the Company and an Income Interest Owner from whom the Company will be purchasing certain Income Interests. Holders will have no rights under any Purchase Agreement, whether as third-party beneficiaries or otherwise. In the event we terminate any Purchase Agreement due to a breach by an Income Interest Owner– for example, if they do not hold proper title to the Income Interests they represent they own and assign Income Interests rights to, we will likely not be able to make distributions to the Holders. In the event of a default on such payment obligations, therefore, we may be limited in our ability to collect Income Interests, and you will need to rely upon the Company or a third-party collection agency to pursue collection against such Income Interest Owner.

We intend to enforce all contractual obligations to the extent we deem necessary and in the best interests of the Company and Holders. However, any Income Interest Owner under any Purchase Agreement who misrepresents the Income Interests they have assigned in the Purchase Agreement may not return some or all of the payments they received as part of the sale of the Royalty Rights to the Company, which means that Holder may not receive the benefit of some or all of the investments they made in those Royalty Shares, or some or all of the Royalty Share Payment they are owed.

 

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Potential breach of the security measures of the JKBX Platform could have a material adverse effect on the Company, the Royalty Shares, and the value of your investment.

The highly automated nature of the JKBX Platform may make it an attractive target and potentially vulnerable to cyber-attacks, computer viruses, physical or electronic break-ins, or similar disruptions. The JKBX Platform processes certain confidential information about investors. While Jukebox Technology, as sole owner of the JKBX Platform, represents to take commercially reasonable measures to protect confidential information and maintain appropriate cybersecurity, the security measures of the JKBX Platform, the Company, the Manager or our other service providers could be breached. The JKBX Platform also integrates the services of third-party service providers that could suffer technology or security incidents independent of the JKBX Platform, but that would impact the services available on the JKBX Platform. Any accidental or willful security breaches or other unauthorized access to the JKBX Platform could cause confidential information to be stolen or used for criminal purposes or have other harmful effects. Security breaches or unauthorized access to confidential information could also expose the Company to liability related to the loss of the information, time-consuming and expensive litigation and negative publicity, or loss of the proprietary nature of the Company’s trade secrets. If security measures are breached because of third-party action, employee error, malfeasance or otherwise, or if design flaws in the JKBX Platform software are exposed and exploited, the relationships between the Company, investors, users, and the Income Interest Owners could be severely damaged, and the Company could incur significant liability or have its attention significantly diverted from utilization of the Royalty Rights, which could have a material negative impact on the value and amounts of Royalty Share Payments available for distribution to Holders.

Because techniques used to sabotage or obtain unauthorized access to systems change frequently and generally are not discovered until they are launched against a target, we, Jukebox Technology, the third-party host used by the JKBX Platform, and other third-party service providers may be unable to anticipate these techniques or to implement adequate preventative measures. In addition, federal regulators and many federal and state laws and regulations require companies to notify individuals of data security breaches involving their personal data. These mandatory disclosures regarding a security breach are costly to implement and often lead to widespread negative publicity, which may cause investors, the Income Interest Owners, or service providers within the industry, including insurance companies, to lose confidence in the effectiveness of the secure nature of the JKBX Platform. Any security breach, whether actual or perceived, would harm our reputation or the reputation of the JKBX Platform and Jukebox Technology, and we could lose investors and Income Interest Owners and the JKBX Platform could lose its users.

The Company may deploy capital management strategies related to any Income Interests it has received in respect of its Royalty Rights but which have not yet been distributed to Holders.

The Company may implement capital management strategies for Income Interests related to Royalty Rights that it has received and holds but not yet distributed to Holders. Accordingly, the Company may manage any capital received from such Income Interests in a variety of risk adjusted financial instruments, each of which may be subject to a loss of principal or other financial investment loss in lieu of retaining such amounts as cash until a distribution is required. Although such investments will be well-balanced and made with care, these investments may experience partial or total loss. If any of these investments experiences a partial or total loss, the Company may be unable to satisfy its Royalty Share Payment obligations in the Royalty Share Agreement. See “Distribution Policy” for more information.

We may encounter limitations on the effectiveness of our internal controls and a failure of our internal controls to prevent error or fraud may harm our business and Holders.

Because the Company operates with no employees and is reliant on the administrative services provided by the Manager, we may encounter limitations on the effectiveness of our internal controls over financial reporting, public disclosures and other matters. For example, as a result of our staffing, our processing of financial information may suffer from a lack of segregation of duties, such that journal entries and account reconciliations are not reviewed by someone other than the preparer. If we encounter limitations on the effectiveness of our internal controls and are unable to remediate them, we may not be able to report our financial results accurately, prevent fraud or file our periodic reports as a Regulation A reporting entity in an accurate, complete, and timely manner. This could potentially harm our business and Holders.

 

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In order to maintain and grow our operations, we will need to promote multiple series of the Offering and/or multiple offerings similar to this Offering; there can be no assurance that we will be able to do so to sustain our business model.

Although we anticipate ongoing negotiations with multiple potential Income Interest Owners to acquire additional Royalty Rights for forthcoming series of the Offering and/or future offerings, we may need to have a continuous pipeline of such series of the Offering and/or future offerings in order to achieve certain economies of scale with respect to marketing, distribution, and other operational activities. We may fail to acquire enough Royalty Rights to support our business model. There can be no assurance that we will be able to successfully sell Royalty Shares to achieve revenues that exceed our costs, and profit margins that justify our continued operations.

Risks Related to the Music Industry

In the event a Music Asset moves into the public domain the amount of Royalty Share Payments in respect of such applicable Royalty Shares may diminish or completely end.

In the United States, the composition and recording copyrights embodied in a song are generally protected by U.S. Copyright Law for the periods as follows (subject to various exceptions and nuances): (a) songs created or published in or after 1978, life of the author plus 70 years; (b) songs created or published between 1927 and 1978, there are various applicable periods depending on multiple factors; and (c) for works-made-for-hire created in or after 1978, 95 years from publication date or 120 years from the creation year (whichever expires first). Copyright renewals may also affect the above-referenced timelines. As of 2023, any song created or published before 1927 is currently in the public domain. When a composition or recording moves into the public domain, one who wants to exploit the song does not need to seek permission from or pay royalties to the rights Holder. Therefore, if a Music Asset moves into the public domain the amount of Royalty Share Payments paid in respect of the applicable Royalty Shares may diminish or completely end.

In the event that the copyright upon which Income Interests are based become terminable or subject to copyright reversion in accordance with Section 203 or Section 304 of the U.S. Copyright Act, the amount of Royalty Share Payments paid in respect of the applicable Royalty Shares may diminish or completely end.

Section 203 and Section 304 of the U.S. Copyright Act provide for a right (with exceptions and limitations) of copyright reversion for creators and/or their statutory recognized heirs within a five (5) year window commencing after a period of thirty-five (35) years, fifty-six (56) years, or seventy-five (75) years after (i) the date of the original grant of copyright and/or (ii) the date of first publication (depending on the particular circumstances as set out under the US Copyright Act). Where an Income Interest is dependent on a third-party copyright, its U.S. termination and reversion under these statutory provisions could render the U.S. Income Interest diminished or extinguished. In addition, currently, in the U.S., it is accepted under case law that Income Interest transfers are not terminable under Section 203 of the U.S. Copyright Act – only copyright transfers are terminable (with exceptions and limitations as noted above).

In addition to statutory termination, a grant of copyright interest may revert to the granting party pursuant to specific contractual terms. Rights under some agreements may be recaptured by the granting party either by performance of some additional obligation (e.g. repayment of monies advanced under the contract) or by the expiration of a term of years, or other contractual reasons. The Company may not be able to track and monitor its obligations and rights granted under contracts with all Income Interest Owners. Additionally, the Company’s interests in the Royalty Rights, in some cases, may be granted under short-term contracts which may expire, or may contain buy-out provisions pursuant to which the relevant artist may terminate the contract prior to its expiration.

Income generated by Income Interests may be reduced if the recorded music industry fails to grow or streaming revenue fails to grow at a sufficient rate to offset download and physical sales declines.

Every consecutive year since 2006, music streaming’s market share has grown. As of 2022, according to the International Federation of the Phonographic Industry, music streaming brought in $17.5 billion, and the music industry as a whole doubled in terms of revenue from 2014 to 2022. With music streaming providing greater accessibility than ever with multiple subscription models, including free ad-based models, and a 10.3% growth in subscription services from 2021 to 2022 alone, the music industry has seen healthy and consistent growth.

There can be no assurances that this growth pattern will persist or that digital revenue will grow at a rate sufficient to offset declines in physical sales, or that changes in streaming models will not negatively impact income generated from the Royalty Rights. A declining recorded music industry is likely to lead to reduced levels of revenue and operating income generated by the recorded and publishing music business. There are also a variety of factors that could cause the prices in the recorded music industry to be reduced. They are, among others, consumption during a global pandemic and fear for economic downturns, price competition from the sale of motion pictures and video games in physical and digital formats, the negotiating leverage of mass merchandisers, big-box retailers and distributors of digital music, the increased costs of doing business with mass merchandisers and big-box retailers as a result of complying with operating procedures that are unique to their needs and any associated changes.

Changes in technology may affect our ability to receive payments in respect of the Purchase Agreements and Royalty Rights.

The recorded and publishing music business is dependent in part on technological developments, including access to and selection and viability of new technologies, and is subject to potential pressure from competitors as a result of their

 

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technological developments. For example, the recorded music business may be further adversely affected by technological developments that facilitate the piracy of music, such as internet peer-to-peer filesharing activities, by an inability to enforce intellectual property rights in digital environments, and by a failure to develop successful business models applicable to a digital environment. Music that is illegally produced, distributed, and/or exploited with the use of artificial intelligence could also infringe upon the intellectual property rights associated with the Music Assets underlying our Royalty Rights and adversely affect our ability to collect our Income Interest. The recorded music business also faces competition from other forms of entertainment and leisure activities, such as cable and satellite television, motion pictures, and video games, whether in physical or digital formats. The new digital business, including the impact of ad-supported music services, some of which may be able to avail themselves of “safe harbor” defenses against copyright infringement actions under copyright laws, may also limit the recorded music industry’s ability to receive income from music royalty rights. Due to such “safe harbor” defenses, revenue from ad-supported music services may not fully reflect increases in consumption of recorded music. In addition, the recorded music industry is currently dependent on a small number of leading digital music services, which allows such services to significantly influence the prices that can be charged in connection with the distribution of digital music. It is possible that the share of music sales by a small number of leading mass-market retailers, as well as online retailers and digital music services, will continue to grow, which could further increase their negotiating leverage and put pressure on prices, ultimately decreasing the income we will receive from music royalty rights.

Failure to obtain, maintain, protect, or enforce our intellectual property rights could substantially harm our business, operating results, and financial condition.

The success of the Company and its ability to make distributions to Holders depends on its ability to obtain, maintain, protect, and enforce our rights under each Purchase Agreement. The measures that we take to obtain, maintain, protect, and enforce our rights, including, if necessary, litigation or proceedings before governmental authorities and administrative bodies, may be ineffective, expensive and time-consuming, and, despite such measures, we may not be able to enforce Income Interest collection on our Royalty Rights. Additionally, changes in law may be implemented, or changes in interpretation of such laws may occur, that may affect our ability to obtain, maintain, protect, or enforce rights to our Royalty Rights. Moreover, with music royalty rights, it is possible that despite our due diligence efforts there could be successful challenges by third parties to the ownership of a particular copyright or royalty stream or, if acquired as a group of assets, the entire group in which case the value of the asset(s) might be significantly less valuable, or have no value. Failure to obtain, maintain, protect, or enforce our rights could harm our brand or brand recognition and adversely affect our business, financial condition, and results of operation.

Digital piracy may lead to decreased sales in the recorded and publishing music industry and affect our ability to receive Income Interests from the Royalty Rights.

The combined effect of the decreasing cost of electronic and computer equipment and related technology such as the conversion of music into digital formats have made it easier for consumers to obtain and create unauthorized copies of music recordings in the form of, for example, MP3 files. Such piracy will have a negative effect on revenues attributable to music royalty rights we acquire. In addition, while growth of music-enabled mobile consumer offers new opportunities for growth in the music industry, it also opens the market up to risks from behaviors such as “sideloading” and the mobile app-based downloading of unauthorized content. As the business shifts to streaming music or access models, piracy in these models is increasing. The impact of digital piracy on legitimate music sales and subscriptions is hard to quantify, but we believe that illegal filesharing and other forms of unauthorized activities could potentially have a negative impact on music sales and on the Income Interests we may receive from the Royalty Rights. The music industry is working to control this problem in a variety of ways including through litigation, and lobbying governments for new, stronger copyright protection laws and more stringent enforcement of current laws, through graduated response programs achieved through cooperation with internet service providers and legislation being advanced or considered in many countries, through technological measures and by enabling legitimate new media business models. However, we do not know whether such measures will be effective, and if such measures are not effective, our Income Interests derived from the Royalty Rights may decrease.

Royalty Rights and Income Interests are subject to risks relating to the music industry and such risks may reduce or eliminate the royalties, fees and other income streams that would otherwise accrue with respect to a song.

Various business risks in the music industry may contribute to the reduction or elimination of the royalties, fees and other income streams that would otherwise accrue with respect to a song. For example, a song may have an unrecouped balance owed to a music label, publisher or other party that must first be recouped from the royalty income before any royalties, fees and other income streams can pass to the Income Interest Owner or other party entitled to payments. Additionally, royalties may be withheld by a record label,

 

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publisher, performing rights organization (PRO), or other party or reduced if they become subject to a dispute (legal or non-legal) until the dispute is resolved to the satisfaction of the copyright holder or if a copyright infringement claim is successful. In addition, royalties may be delayed or misdirected, including due to the failure of an Income Interest Owner to communicate to the record label, publisher, PRO, or other party to redirect payment. Royalties may also go uncollected or be paid to a prior label, publisher, other third party, or owner if the present copyright holder may not have an appropriate party engaged to exploit and collect income owing in respect of a song. Royalty administrators, publishers, labels, and/or distributors may also experience delays in receiving and/or distributing royalty payments.

Royalties, fees and other income streams are often not paid on a consistent, regular or timely basis and substantial time may pass between when the right to receive royalties accrues (i.e., a song is played or streamed) and when the ultimate party entitled to receive those royalties is paid. As a result, there may be periods when no royalties are received and other periods when royalties that accrued during multiple prior periods are received. Accordingly, there is no guarantee that a holder of Royalty Shares will receive Royalty Share Payments that correspond to the duration of their holding period or that the “trailing yield” presented in the “Royalty Shares Offering Table” beginning on page 65 will be realized for any particular holding period.

Publishers and labels may also be contractually required to obtain the approval of the original creator of the song (or the estate thereof) before being able to undertake certain exploitations of songs and recordings (e.g., film or tv synchronizations, compilation usages, etc.) and such approvals may be withheld, thus reducing potential Income Interests. Outside of the United States, the doctrine of “moral rights” for creators may similarly restrict the commercial exploitation potential of songs and/or sound recordings. Additionally, the underlying copyrights in songs and sound recordings are subject to duration periods after which these works fall into the public domain.

These are examples of some, but not all, of the risks that may impact the amount of Income Interests that we receive in respect of the Royalty Rights and that will be available for Royalty Share Payments to Holders. If any of these or other risks were to arise with respect to a particular Music Asset or Income Interest underlying any of the Royalty Rights, then Holders of the corresponding Royalty Shares may experience a material or complete reduction in the amount of Royalty Share Payments paid in respect of such Royalty Shares.

Income Interest Owners from whom we acquire Income Interests do not owe any fiduciary duties to the Company or its investors, and they are under no obligation to enhance the value of the underlying music royalty rights or disclose information to the Company’s investors.

The owners of the intellectual property underlying the Royalty Rights have no obligation to enhance the value of the underlying Income Interests that we may acquire. For example, the recording artist or songwriter may decide to retire, which may have the effect of decreasing future Income Interests from the music. Furthermore, neither the recording artist, the songwriter nor the intellectual property rights owner owe any fiduciary duties to the Company or investors in the Royalty Shares. Investors in the Royalty Shares will have no recourse directly against the recording artist or songwriter or the intellectual property rights owner, either under the agreement to purchase the Income Interests or under state or federal securities laws.

The value of music is highly subjective, and the popularity of Music Assets may be unpredictable.

The value of music is inherently subjective given the unique character of each individual work. In addition, the popularity of any given work may be unpredictable. While the analysis of certain qualitative factors may provide some predictive information regarding how the music-consuming market may respond to a certain asset, such as an artist’s track record, general cultural and/or industry trends, press coverage and other public exposure, or certain musical criteria, these factors may not reliably inform how a Music Asset underlying the Royalty Rights will perform in ways that result in the ultimate distribution of Royalty Share Payments to Holders.

There is no assurance of appreciation of the value of the Royalty Rights or any cash distributions resulting from any potential disposal of the Royalty Rights.

There is no assurance that the value of the Royalty Rights will appreciate, maintain their present value, or be sold at a profit. The marketability and value of the Royalty Rights will depend upon many factors beyond our control. There can be no assurance that there will be a ready market for the Royalty Rights, since investment in music royalty rights is generally illiquid, nor is there any assurance that in the event of a voluntary or involuntary liquidation, or any disposal otherwise, of the Royalty Rights, sufficient cash will be generated allowing investors to recuperate their investment amounts.

Temporary popularity of some Music Assets or music trends may result in short-term value increases in Royalty Share Payments that may prove unsustainable as cultural tastes shift.

Temporary consumer popularity may lead to short-term or temporary increases in Royalty Share Payments, followed by decreases thereof. The demand for specific categories of music and artists is influenced by changing cultural trends in the market, which can be difficult to predict. These risks of changes in popularity may be greater for a living or emerging artist, as compared to other categories which may have a proven popularity track record over a longer period of time. These trends could result in reduced profitability for Holders. Furthermore, artists and songwriters may engage in activities or behaviors that may influence their public perception, which in turn may influence the demand or popularity of certain related Music Assets. The adverse impact to the Royalty Shares resulting, directly or indirectly, from such artists’ or songwriters’ activities or behaviors may be impossible to predict at the time an investor purchases a Royalty Share.

We are relatively undiversified since our strategy involves the investment exclusively in Income Interests.

The Company was formed to facilitate an investment in the collection of Royalty Rights that derive Income Interests from certain Music Assets. Such lack of diversification may create a concentration risk that may make an investment in the Royalty Shares riskier than an investment in a diversified pool of assets or business with more varied operations. Aggregate returns realized by investors are expected to correlate to the change in popularity and/or consumption of the underlying assets, which may not correlate to changes in the overall music market or any segment of the music market.

 

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Risks Related to the Offering and Ownership of the Royalty Shares

An investment in an Offering constitutes only an investment in the Royalty Shares and not in the Company or directly in any underlying Music Asset.

An investor in this Offering will acquire an ownership interest in the Royalty Shares representing the contractual right to receive Royalty Share Payments, and will not, for the avoidance of doubt, acquire an ownership interest in (i) the Company, (ii) the Manager, (iii) the JKBX Platform, (iv) Jukebox Holding, (v) the underlying intellectual property rights, including copyrights, of the Music Assets, or (vi) directly, the Music Assets associated with or underlying the Royalty Rights. The Manager retains significant control over the management of the Company. Furthermore, because the Royalty Shares do not constitute an investment in the Company as a whole, Holders are not expected to receive any economic benefit from the assets of, or be subject to the liabilities of, any of the Company’s activities unrelated to this Offering or the Royalty Rights. In addition, the economic interest of a Holder may not be identical to owning a direct undivided interest in a Music Asset underlying the Royalty Rights because, among other things, the Company will be required to pay certain taxes before distributions are made to the Holders, and the Company will receive a Royalty Fee in respect of its ongoing administration of rights associated with the Royalty Shares.

The offering price of the Royalty Shares was not established on an independent basis; the actual value of your investment may be substantially less than what you pay. When determining the estimated value of the Royalty Shares, the value of the Royalty Shares has been and will be based upon a number of assumptions that may not be accurate or complete.

The Company established the initial offering price of the Royalty Shares on an arbitrary basis. The selling price of the Royalty Shares bears no relationship to the value of the corresponding Royalty Rights, to our book or asset values or to any other criteria for valuing Royalty Shares, and does not reflect the quality of the underlying Royalty Rights or Music Asset. Because the offering price is not based upon any independent valuation, the offering price may not be indicative of the actual value of the Royalty Shares you acquire. Further, the offering price may be significantly more than the price at which the Royalty Shares would trade if they were to be listed on an exchange or actively traded by broker-dealers.

Certain information presented in this Offering Circular is provided to the Company by Income Interest Owners and cannot be independently verified by the Company.

This Offering Circular contains information that is provided to the Company by Income Interest Owners and that is unverifiable by the Company. In particular, certain information presented in the “Composition and Recording Rights” table beginning on page 48 is provided by Income Interest Owners pursuant to the applicable Purchase Agreement as described in “Description of the Music Assets Underlying the Royalty Shares—Composition and Recording Rights Table” and we are unable to independently verify such information. If investors rely on such information in making investment decisions in this Offering, such information may be inaccurate. Investors are encouraged to conduct their own research and to consider the various risks associated with the Offering, as described in the “Risk Factors” section of this Offering Circular, before purchasing any series of Royalty Shares.

Royalty Share Payments depend entirely on the payments of monies associated with Income Interests received by us in respect of the corresponding Royalty Rights. If we do not receive such payments, you will not receive any Royalty Share Payments.

The Company is obligated to make Royalty Share Payments only to the extent that we receive Income Interest payments in respect of the corresponding Royalty Rights in accordance with the applicable Royalty Share Agreements. If we do not receive any Income Interest payments in respect of the corresponding Royalty Rights, you will not be entitled to, and will not receive any, Royalty Share Payments.

Holders who dispose of their Royalty Shares prior to the record date for any Royalty Share Payment in connection with such disposed Royalty Shares will not receive such the Royalty Share Payment.

During each full calendar quarter that begins following the six-month anniversary of the original issue date of a series of Royalty Shares, the Company shall declare with respect to such series (a) the amount of distributions payable per Royalty Shares of such series on the next designated payment date, and (b) a record date and payment date for such distributions. Holders who dispose of their Royalty Shares before the record date of any initial or ongoing distribution for a series of Royalty Shares will not receive any payment in connection with such quarter. As such, Holders may need to hold their Royalty Shares for six months or more before their Royalty Shares are eligible for any Royalty Share Payments.

The Royalty Shares are unsecured limited obligations of the Company only and are not secured by any collateral or guaranteed or insured by any third party.

The Royalty Shares are unsecured limited obligations of the Company only and will not represent an obligation of the Manager or Jukebox Holding, any Income Interest Owner or any other party except the Company. The Royalty Shares are not secured by any collateral and are not guaranteed or insured by any governmental agency or instrumentality or any third party.

A determination that music royalty Income Interests are “securities” may adversely affect the value of the Royalty Shares, and result in potentially extraordinary, nonrecurring expenses to, or termination of, the Company.

The SEC has not made any official policy statements categorically addressing whether music royalty Income Interests, such as Royalty Rights, are “securities” under federal securities laws. As such, the SEC may consider music royalty Income Interests as “securities” in the future. The test for determining whether a certain music royalty Income Interest can be complex and highly fact-specific, where the outcome is difficult to predict.

To the extent music royalty Income Interests are securities, the Company may also be subject to additional regulatory requirements, including under the Investment Company Act, and the Company may be required to register as an investment

 

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adviser under the Investment Advisers Act. Regulatory changes or interpretations could cause the Company to register and comply with new regulations, resulting in potentially extraordinary expenses to the Company. If the Company determines not to comply with such additional regulatory and registration requirements, the Manager may dissolve the Company in accordance with the Company’s Operating Agreement. Any such dissolution could result in the liquidation of the Royalty Rights at a time that is disadvantageous to Holders.

There is currently no public trading market for the Royalty Shares, and there can be no assurance that any trading market will develop or, even if developed, may not be available to all Holders, may not be sustained or may cease to exist following this Offering, which would adversely impact the market for the Royalty Shares and make it difficult, or even impossible, to sell your Royalty Shares.

There is currently no public trading market for the Royalty Shares, and an active market may not develop or be sustained. If an active public trading market for the Royalty Shares does not develop or is not sustained, it may be difficult or impossible for investors to resell their Royalty Shares at any price. Even if a public market does develop, it may not provide an effective means of selling your Royalty Shares and the market price could decline below the amount an investor paid for the Royalty Shares or fluctuate significantly for many reasons, including reasons unrelated to our performance, such as reports by industry analysts, investor perceptions, or announcements by our competitors regarding their own performance, as well as general economic and industry conditions.

We do not currently intend to list the Royalty Shares for trading on a national securities exchange. We may in the future facilitate secondary sales of Royalty Shares on an alternative trading system operated by an SEC-registered broker-dealer and a member of FINRA and the SIPC, hereinafter referred to as the “ATS.” Additionally, we may engage the services of an SEC-registered broker-dealer and a member of FINRA and SIPC, to provide Holders of the Royalty Shares with access to the ATS through the JKBX Platform. No assurance can be given that the Company, the ATS or the broker-dealer we engage will be in a position to facilitate sales of the Royalty Shares or, in the event they are able to facilitate such sales, provide an effective means of selling your Royalty Shares or that the price at which any Royalty Shares may be sold through any eventual ATS with the assistance of such broker-dealer (or otherwise) will be reflective of the fair value of the Royalty Shares or the underlying Royalty Rights. In the event that secondary sales of Royalty Shares are possible on an ATS, such sales may be subject to fees imposed by the ATS and/or the broker-dealer we engage or other broker-dealers operating on the ATS. We do not know the extent to which investor interest will lead to the development and maintenance of a liquid market. In light of a variety of factors, including, without limitation, the relatively small market capitalization of the Company, we cannot guarantee that any eventual ATS will provide a reliable or effective means of price discovery. Any posted offer prices or historical transaction information reflected on any eventual ATS should not be construed as being representative of the fair value of the Royalty Shares or of the Royalty Rights. Investors should be prepared to hold their Royalty Shares for an indefinite period of time, as there can be no assurance that the Royalty Shares will ever be saleable through the ATS or any alternative platform.

If a market ever develops for the Royalty Shares, the market prices and trading volume of the Royalty Shares may be volatile.

If a market develops for the Royalty Shares, the market price of the Royalty Shares could fluctuate for many reasons, including reasons unrelated to our performance, such as reports by industry analysts, investor perceptions, or announcements by our competitors regarding their own performance, as well as general economic and industry conditions. In addition, fluctuations in operating results of any particular series of Royalty Shares, or the failure to meet the expectations of investors, may negatively impact the price of the Royalty Shares. Operating results may fluctuate in the future due to a variety of factors that could negatively affect revenues or expenses in any particular reporting period, including vulnerability of our business to a general economic downturn, changes in the laws that affect our operations, competition, compensation-related expenses, application of accounting standards, seasonality, and our ability to obtain and maintain all necessary government certifications or licenses to conduct our business. Lastly, the price investors pay for the Royalty Shares may be more or less than that paid by investors who purchase their Royalty Shares in the future, such as via an ATS. There is no guarantee that the value of Royalty Shares purchased in this Offering will increase in the future should an investor seek to sell such investor’s Royalty Shares.

This Offering is being conducted on a continuous basis, however there may be brief pauses in this Offering due to technological or operational overcapacity.

The Offering is being conducted on a continuous basis pursuant to Rule 251(d)(3) of the Securities Act, meaning that while an offering of securities is continuous, sales and settlement of securities may happen sporadically over the term of such offering as we are able to process subscriptions. The acceptance of subscriptions by the Company and its associated persons through the JKBX Platform may be briefly paused at times to allow us to effectively and accurately process and settle subscriptions that have been received.

There may be state law restrictions on an investor’s ability to sell its Royalty Shares making it difficult to transfer, sell, or otherwise dispose of the Royalty Shares.

Each state has its own securities laws, colloquially known as “blue sky” laws, which (i) limits sales of securities to a state’s residents unless the securities are registered in that state or qualify for an exemption from registration and (ii) govern the reporting requirements for broker-dealers and stockbrokers doing business directly or indirectly in the state. Before a

 

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security is sold in a state, there must be a registration in place to cover the transaction, or it must be exempt from registration. Also, the broker must be registered in that state. We do not know whether the Royalty Shares being offered under this Offering Circular will be registered, or exempt, under the laws of any states. A determination regarding registration will be made by the broker-dealers, if any, who agree to serve as the market-makers for our Royalty Shares. There may be significant state blue sky law restrictions on the ability of investors to sell, and on purchasers to buy, our Royalty Shares. Investors should consider the resale market for our Royalty Shares to be limited. Investors may be unable to resell their Royalty Shares, or they may be unable to resell them without the significant expense of state registration or qualification.

If we face litigation related to the Offering, we may elect to liquidate the Company’s assets, and the proceeds of any such liquidation may be insufficient to provide an adequate remedy. Further, if investors successfully seek rescission, we would face severe financial demands that we may not be able to meet.

The Royalty Shares have not been registered under the Securities Act and are being offered in reliance upon the exemption provided by Section 3(b) of the Securities Act, including Regulation A promulgated thereunder. We represent that this Offering Circular does not contain any untrue statements of material fact or omit to state any material fact necessary to make the statements made, in light of all the circumstances under which they are made, not misleading. However, if this representation is inaccurate with respect to a material fact, if this Offering fails to qualify for exemption from registration under the federal securities laws pursuant to Regulation A, or if we fail to register the Royalty Shares or find an exemption under the securities laws of each state in which we offer the Royalty Shares, each investor may have the right to rescind his, her or its purchase of the Royalty Shares and to receive back from us his, her or its purchase price with interest. Such investors, however, may be unable to collect on any judgment, and the cost of obtaining such judgment may outweigh the benefits. If investors successfully seek rescission, there can be no assurance that the available funds of the Company can provide an adequate remedy for its investors and it would face severe financial demands it may not be able to meet, which may adversely affect any non-rescinding investors.

Risks of investing using a credit card.

We may, in our sole discretion, accept credit cards for subscriptions, provided that any such credit card subscription may be subject to additional restrictions. An investment in the Royalty Shares is a long-term and highly illiquid investment. Payment by credit card may be appropriate for some investors as a temporary funding convenience, but should not be used as a long-term means to finance an investment in the Royalty Shares. Investors contemplating using their credit card to invest are urged to review the SEC’s Investor Alert dated February 14, 2018 entitled: Credit Cards and Investments – A Risky Combination, which is available at https://www.sec.gov/oiea/investor-alerts-and-bulletins/ia_riskycombination. Credit card investment may result in incurrence of third-party fees and charges (often ranging from 1.5% - 3.0%), interest obligations which will lower your expected investment returns, and could exceed your actual returns. In addition, if you cannot meet your minimum payment obligation, you may damage your credit profile which would make it more difficult and more expensive to borrow in the future.

Risks Related to the Company

The value of the Royalty Shares may be influenced by a variety of factors unrelated to the performance of the underlying Music Assets.

The value of the Royalty Shares may be influenced by a variety of factors unrelated to the performance of the Music Assets underlying the Royalty Rights. These factors include the following:

 

   

Unanticipated problems or issues with respect to the mechanics of the Company’s operations and the trading of the Royalty Shares may arise, in particular due to the fact that the mechanisms and procedures governing the creation and offering of the Royalty Shares have been developed specifically for this product;

 

   

The Company could experience difficulties in operating and maintaining its technical infrastructure, including in connection with expansions or updates to such infrastructure, which may be complex and could lead to unanticipated delays, unforeseen expenses, and security vulnerabilities; and

 

   

The Company could experience unforeseen issues relating to the performance and effectiveness of the security procedures it uses to operate, or the security procedures may not protect against all errors, software flaws, or other vulnerabilities in the Company’s technical infrastructure, which could give rise to potential unforeseen expenses and reputational harm to the Company.

 

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We may not currently maintain enough resources to meet customer support demands or scale our operations if the demand for Royalty Shares is higher than we have anticipated.

To date, the Company has made budgeting and operational decisions based on internal financial and operational projections, in order to meet the foreseeable needs of the Company to conduct its business activities in an effective manner. While the relevant projections have been prepared based on carefully devised business assumptions, the demand for Royalty Shares may nonetheless be higher than indicated by our internal projections, in which event the resources currently allocated to customer support may fall short of the Company’s actual needs. While we intend to address such personnel resources issues swiftly, temporary personnel shortage resulting from unanticipated demand may result in dissatisfaction of the Company’s customers, which in turn may result in reputational harm to the Company and/or the Royalty Shares.

Holders do not have the protections associated with ownership of shares in an investment company registered under the Investment Company Act or the protections afforded by the Commodity Exchange Act (the “CEA”).

The Investment Company Act is designed to protect investors by preventing insiders from managing investment companies to their benefit and to the detriment of public investors, such as: the issuance of securities having inequitable or discriminatory provisions; the management of investment companies by irresponsible persons; the use of unsound or misleading methods of computing earnings and asset value; changes in the character of investment companies without the consent of investors; and investment companies from engaging in excessive leveraging. To accomplish these ends, the Investment Company Act requires the safekeeping and proper valuation of fund assets, restricts greatly transactions with affiliates, limits leveraging, and imposes governance requirements as a check on fund management.

The Company is not registered as an investment company under the Investment Company Act, and we believe that the Company is not required to register under such act. Consequently, Holders do not have the regulatory protections provided to investors in investment companies.

The Company will not hold or trade in commodity interests regulated by the CEA, as administered by the Commodity Futures Trading Commission (the “CFTC”). Furthermore, we believe that the Company is not a commodity pool for purposes of the CEA, and that the Company is not subject to regulation by the CFTC as a commodity pool operator or a commodity trading advisor in connection with the operation of the Company. Consequently, Holders will not have the regulatory protections provided to investors in CEA-regulated instruments or commodity pools.

The restrictions on transfer and redemption may result in losses on an investment in the Royalty Shares.

Royalty Shares purchased directly from the Company may not be resold except in transactions exempt from registration under the Securities Act and state securities laws and, where applicable, with the consent of the Company. See “Description of the Royalty Shares—Transfer Restrictions” for more information.

The Company is not accepting, and does not expect to accept, redemption requests from Holders. Therefore, unless the Company is permitted to, and does, establish a Royalty Share redemption program, Holder may be unable to (or could be significantly impeded in attempting to) sell or otherwise liquidate investments in the Royalty Shares, which could have a material adverse impact on demand for the Royalty Shares and their value.

The Company will incur significant costs as a result of the qualification of the Royalty Shares pursuant to Regulation A and becoming a reporting issuer under Regulation A.

In order to qualify an offering pursuant to Regulation A, the Company will incur significant ongoing legal, accounting and other expenses. In addition, Regulation A imposes various requirements on issuers that require the Company and other personnel to devote a substantial amount of time to compliance initiatives.

 

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If the Manager is required to register as a broker-dealer with the Commission and FINRA, the Manager may be required to cease operations and any Royalty Shares offered and sold without such proper registration may be subject to a right of rescission.

If the Manager is deemed to have itself engaged in brokerage activities that require registration with the SEC and FINRA, including the initial sale of the Royalty Shares by the Company and its associated persons through the JKBX Platform and permitting a registered broker-dealer to facilitate resales or other liquidity of the Royalty Shares on the JKBX Platform or the ATS, the Manager may need to stop operating and, therefore, cease providing the administrative services to the Company pursuant to the Company’s Operating Agreement. Since we have not entered into any back-up management agreements, if we or the Manager were to cease operations or otherwise become unable to manage the Royalty Rights or the Royalty Shares without transferring such Royalty Rights to another entity, the management of the Royalty Rights and the Royalty Shares, including the collection of Income Interests and the making of Royalty Share Payments to Holders would be interrupted and may halt altogether unless another way to manage the Royalty Rights and the Royalty Shares on behalf of investors was secured. In addition, if the Manager is ultimately found to have engaged in activities requiring registration as “broker-dealer” without either being properly registered as such, there is a risk that any Royalty Shares offered and sold while the Manager was not so registered may be subject to a right of rescission, which may result in the early termination of this Offering.

By purchasing Royalty Shares in this Offering and entering into a Royalty Share Agreement and Subscription Agreement, you are bound by the provisions contained in the Royalty Share Agreement and Subscription Agreement which provide for mandatory arbitration and a waiver of rights to a jury trial which limits your ability to bring class action lawsuits, seek remedies on a class basis or have a jury decide the factual merits of your claim.

By purchasing Royalty Shares in this Offering, investors agree to be bound by the arbitration provisions contained in our Royalty Share Agreement and Subscription Agreement which provide that arbitration is the exclusive means for resolving disputes relating to or arising under the Subscription Agreement and Royalty Share Agreement and efforts to enforce, interpret or construe such agreements. In addition, by signing the Royalty Share Agreement and the Subscription Agreement, you waive your rights to a jury trial in any such dispute. The arbitration provisions and the waiver of rights to a jury trial in disputes subject to arbitration apply to claims under the U.S. federal securities laws and to all claims that are related to the Company and the Royalty Shares. Arbitration awards are generally final and binding. A party’s ability to have a court reverse or modify an arbitration award is very limited. Further, any claims arising out of the Royalty Share Agreement or Subscription Agreement must be brought in the parties’ individual capacity, and not as a plaintiff or class member in any purported class action, collective action, private attorney general action, or other representative proceeding, or class arbitration. An arbitrator may not consolidate more than one individual’s claims arising out of the Royalty Share Agreement or Subscription Agreement. Purchasers of Royalty Shares in a secondary transaction would also be subject to the same arbitration provisions and jury waiver that are currently in our Royalty Share Agreement or Subscription Agreement. In addition, such arbitration provisions limit the ability of investors to bring class action lawsuits or similarly seek remedies on a class basis for claims subject to the provisions. If invoked, the arbitration is required to be conducted in the State of New York in accordance with New York law. These restrictions on the ability to bring a class action lawsuit and the waiver of a jury trial may result in increased costs and/or reduced remedies to individual investors who wish to pursue claims against the Company. Claims by which a jury trial is waived could include claims made under the federal securities laws.

We believe that the arbitration provision in both the Royalty Share Agreement and the Subscription Agreement is enforceable under federal law, the laws of the State of Delaware, the laws of the State of New York, or under any other applicable laws or regulations. However, the issue of enforceability is not free from doubt and, to the extent that one or more of the provisions in our Royalty Share Agreement or Subscription Agreement with respect to arbitration or otherwise requiring you to waive certain rights, were to be found by a court to be unenforceable, we would abide by such decision.

BY AGREEING TO BE SUBJECT TO THE ARBITRATION PROVISION, INVESTORS WILL NOT BE DEEMED TO WAIVE THE COMPANY’S COMPLIANCE WITH THE FEDERAL SECURITIES LAWS AND THE RULES AND REGULATIONS PROMULGATED THEREUNDER.

We are substantially reliant on the Manager to assist us in the administration and management of our business.

We do not plan to have employees and intend to fund our ongoing operations with net offering proceeds and Royalty Fees. We are substantially reliant on the performance of the Manager under the Operating Agreement. The Manager will assist us in the performance and administration of all of our necessary day-to-day operational tasks in connection with the Royalty Rights and our obligations to Royalty Share Holders. The Manager is a newly formed company and has not yet developed a track record of successful performance of these activities. If the Manager were to default on its obligations under the Operating Agreement, it would be extremely difficult for us to replace the Manager or internally manage these functions. Accordingly, in the event of a material default by the Manager under the terms of the Operating Agreement, it could potentially give rise to circumstances under which we may be forced to liquidate or distribute the Company’s assets. We cannot provide assurance that the timing or terms of any such liquidation would be favorable.

We or the Manager may require additional capital to fund our operations and support business growth, and this capital may not be available on acceptable terms, if at all.

If we do not, or the Manager does not, have sufficient working capital to fund our ongoing operations, we or the Manager may require additional capital from the Manager, Jukebox Holding or other parties, however there is no guarantee that any additional capital will be available to us or the Manager on acceptable terms, if at all.

 

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Our Subscription Agreement and Royalty Share Agreement each provide for non-exclusive jurisdiction and venue in the courts of the State of New York but require you to acknowledge that this provision shall not apply to claims arising under the Securities Act and Exchange Act. Where applicable, we expect to vigorously seek redress for claims arising under the Securities Act and Exchange Act in the federal district courts of the United States of America, which, if agreed to by the courts, will restrict our Holders ability to choose the judicial forum for Securities Act and Exchange Act disputes.

While our Subscription Agreement and Royalty Share Agreement generally provide for non-exclusive jurisdiction and venue in accordance with the laws of the State of New York, they also require you to acknowledge that this non-exclusive jurisdiction and venue selection provision does not apply to claims arising under the Securities Act and the Exchange Act. For this reason, all claims arising under the Securities Act and Exchange Act may be required to be brought in federal court. There is uncertainty as to whether a court would enforce this aspect of the Subscription Agreement and Royalty Share Agreement if a party were to otherwise seek redress under the federal securities laws in a state court. We expect to vigorously assert the validity and enforceability of federal securities laws and other claims for which federal courts may have exclusive jurisdiction and venue in the federal district courts of the United States. This may require significant additional costs associated with resolving such action in other jurisdictions and there can be no assurance how the provision will be interpreted by a court in those other jurisdictions.

This choice of forum provision may limit a Holder’s ability to bring a Securities Act or Exchange Act claim in a state forum that it finds favorable for disputes with us or our directors, officers, or other employees. If a court were to find this provision in our Subscription Agreement or Royalty Share Agreement to be inapplicable or unenforceable in an action, we may incur additional costs associated with resolving the dispute in other jurisdictions, which could seriously harm our financial condition. By agreeing to the Subscription Agreement and Royalty Share Agreement, you will not be deemed to have waived the Company’s compliance with U.S. federal securities laws and the rules and regulations promulgated thereunder.

Royalty Shares do not represent an ownership interest in the Company and Holders will not have a right to bring a derivative action.

The Royalty Shares do not represent an ownership interest in the Company and Holders take no part in the management or control of the Company. Accordingly, Holders will not have the right to authorize actions, appoint service providers or take other actions as may be taken by shareholders of companies where shares carry such rights. The Manager may take actions in the operation of the Company that may be adverse to the interests of Holders and may adversely affect the value of the Royalty Shares. Moreover, because the Royalty Shares do not represent an ownership interest in the Company, Holders do not have a statutory right under Delaware law to bring a derivative action (i.e., to initiate a lawsuit in the name of the Company in order to assert a claim belonging to the Company against a fiduciary of the Company or against a third-party when the Company’s management has refused to do so).

If the Company were to become subject to a bankruptcy or similar proceeding, the rights of the Holders of the Royalty Shares could be uncertain, and the recovery, if any, of a Holder of a Royalty Share may be substantially delayed and substantially less than the amounts due or that may become due in respect of the Royalty Share.

In the event of a bankruptcy or a similar proceeding by the Company, the rights of investors to continue receiving payments in respect of the Royalty Shares could be subject to the following risks and uncertainties:

 

   

Income Interest Owners and other organizations may delay payments to us on account of the Royalty Rights because of the uncertainties occasioned by a bankruptcy or similar proceeding of the Company, even if they have no legal right to do so, and such delay could reduce, at least for a time, the funds that might otherwise be available for distribution to Holders of the Royalty Shares corresponding to those Royalty Rights.

 

   

In a bankruptcy or similar proceeding of the Company, our obligation to continue making Royalty Share Payments would likely be suspended or delayed even if the funds to make such distributions were available. Because a bankruptcy or similar proceeding may take months or years to complete, even if the suspended distributions were resumed, the suspension might effectively reduce the value of any recovery that a Holder of a Royalty Share might receive by the time such recovery occurs.

 

   

The Royalty Shares are unsecured, and investors do not have a security interest in the corresponding Royalty Rights. Accordingly, the Holders of the Royalty Shares may be treated as general unsecured creditors and thus be required to share the monies associated with Income Interests received by us in respect of the corresponding Royalty Rights with our other general unsecured creditors. If such sharing of Income Interests is deemed appropriate, those Income Interests that are either held by us in our accounts at the time of the bankruptcy or similar proceeding of the Company, or not yet

 

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received by us at the time of the commencement of the bankruptcy or similar proceeding, may be at greater risk than the Royalty Share Payments that are already held by us in accounts for the benefit of Holder on the JKBX Platform at the time of the bankruptcy or similar proceeding. To the extent that Income Interests would be shared with other creditors of the Company, any secured or priority rights of such other creditors may cause such Income Interests to be distributed to such other creditors before, or ratably with, any Royalty Share Payments made to Holders.

 

   

In a bankruptcy or similar proceeding of the Company, it is possible that a Holder of a Royalty Share could be deemed to have a right of payment only from the Income Interests of the corresponding Royalty Rights and not from any other assets of the Company, in which case the Holder of the Royalty Share may not be entitled to share the proceeds of such other assets of the Company with other creditors of the Company, whether or not, as described above, such other creditors would be entitled to share in the Income Interests of the Royalty Rights corresponding to the Royalty Share. Alternatively, it is possible that a Holder of a Royalty Share could be deemed to have a right to Royalty Share Payments and from some or all other assets of the Company, in which case the Holder of the Royalty Share may be entitled to share the proceeds of such other assets of the Company with other creditors of the Company, whether or not, as described above, such other creditors would be entitled to share in the Royalty Share Payments. To the extent that proceeds of such other assets would be shared with other creditors of the Company, any secured or priority rights of such other creditors may cause the proceeds to be distributed to such other creditors before, or ratably with, any Royalty Share Payments to Holders.

 

   

If we have received Income Interests before bankruptcy proceedings are commenced and those funds are held in our accounts after the commencement of bankruptcy proceedings and have not been used by us to make Royalty Share Payments, there can be no assurance that we will be able to use such funds to make Royalty Share Payments to Holders.

 

   

If a bankruptcy proceeding commences after your commitment becomes irrevocable (and such funds to purchase the Royalty Rights are set aside for closing), you may not be able to obtain a refund of the funds you have committed even if the offering proceeds have not yet been used to fund the acquisition of the corresponding Royalty Rights.

If we or the Manager were to cease operations or enter into bankruptcy proceedings, the collection of Income Interests in accordance with the Royalty Rights and the management of the Royalty Shares, including the making of Royalty Share Payments, would be interrupted and may halt altogether.

If we or the Manager were to become subject to bankruptcy or similar proceedings or if we or the Manager ceased operations, the Company, or a bankruptcy trustee on our behalf, might be required to find other ways to manage Royalty Rights and Royalty Shares, including the collection of royalties and the making of Royalty Share Payments to Holders. Such alternatives could result in delays in the making of Royalty Share Payments on Royalty Shares or could require payment of significant fees to another company to manage and service the Royalty Rights and the Royalty Shares. Since we have not entered into any back-up management agreements, if we or the Manager were to cease operations or otherwise become unable to manage the Royalty Rights or the Royalty Shares without transferring such Royalty Rights to another entity, the management of the Royalty Rights and the Royalty Shares, including the collection of Income Interests and the making of Royalty Share Payments to Holders would be interrupted and may halt altogether unless another way to manage the Royalty Rights and the Royalty Shares on behalf of investors was secured.

If we or the Manager were to file under Chapter 11 of the Bankruptcy Code, it is possible that we would be able to continue to manage the Royalty Rights and the Royalty Shares during reorganization. If, on the other hand, we were to file under Chapter 7 of the Bankruptcy Code, or if an attempted reorganization under Chapter 11 should fail and the bankruptcy case be converted to Chapter 7, the bankruptcy trustee would have the obligation to administer the bankruptcy estate. As part of such administration, the bankruptcy trustee, subject to bankruptcy court approval, may elect to continue to Royalty Rights and the Royalty Shares or to transfer the right to such servicing to another entity for a fee. Either option would likely result in delays in the collection of Income Interests and in the making of Royalty Share Payments to Holders and could require the bankruptcy trustee to pay significant fees to another company to manage the Royalty Rights and the Royalty Shares, ultimately decreasing the amounts available for Royalty Share Payments. Alternatively, the bankruptcy trustee may elect to cease these management functions altogether.

 

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In the event that we or the Manager were to cease operations or enter into bankruptcy proceedings, recovery by a Holder of a Royalty Share may be substantially delayed while back-up management is secured, if practicable, or such services halted altogether, and such recovery may be substantially less than the amounts due and that may become due on in respect of the Royalty Share.

The treatment of the Royalty Shares for U.S. federal income tax purposes is uncertain.

There are no statutory provisions, regulations, published rulings, or judicial decisions that directly address the characterization of the Royalty Shares or instruments similar to the Royalty Shares for U.S. federal income tax purposes. However, although the matter is not free from doubt, the Company intends to treat the arrangement as an investment trust described in Treasury Regulation 301.7701-4(c) for U.S. federal income tax purposes in which the investor’s Royalty Share represents an undivided beneficial interest in the Royalty Right derived from the specified Music Asset. Investment trusts are entitled to flow through treatment of the income to the Holders of the Royalty Share.

An investment trust is not classified as a trust if a power exists under the trust agreement to vary the investment of the certificate holders. An investment trust with multiple classes of ownership interests ordinarily is classified as a business entity. However, an investment trust with multiple classes of ownership interests in which no power exists under the trust agreement to vary the investment of the certificate holder is classified as a trust if the trust is formed to facilitate direct investment in its assets and the existence of multiple classes of ownership interests is incidental to that purpose.

All prospective purchasers of the Royalty Shares are advised to consult their own tax advisors regarding the U.S. federal, state, local and non-U.S. tax consequences of the purchase and ownership of the Royalty Shares (including any possible differing treatments of the Royalty Shares).

If the arrangement were to become a business entity for U.S. federal income tax purposes, then the business entity would be required to pay corporate level income tax on its net income. Then, Royalty Share Payments to investors would be subject to a shareholder level income tax as dividend income to the extent of the business entity’s earnings and profits.

While it is expected that we will operate so that the arrangement will qualify to be treated for U.S. federal income tax purposes as an investment trust, and not as a business entity, given the highly complex nature of the rules governing trusts and partnerships, the ongoing importance of factual determinations, the lack of direct guidance with respect to the application of tax laws to the activities we are undertaking and the possibility of future changes in our circumstances, it is possible that the arrangement will not qualify to be taxable as an investment trust for any particular year. If the Company’s arrangement does not qualify as an investment trust, it may default to a business entity that is characterized as a partnership. Then, the trading of Royalty Shares on an alternative trading system such as the ATS may, under Section 7704 of the Code, cause the partnership to be characterized as a publicly traded partnership that is treated and taxed as a corporation, and not as a partnership, for U.S. federal income tax purposes.

If, for any reason, the arrangement is or becomes taxable as a corporation for U.S. federal income tax purposes, the investors will not be entitled to flow through tax treatment. Instead, the business entity will be required to pay a corporate level income tax on its net income, and distributions to investors will be subject to a shareholder level income tax as a dividend to the extent of the business entity’s earnings and profits. The arrangement’s failure to qualify as an investment trust for U.S. federal income tax purposes could have a material adverse effect on the Company, our investors, and the value of the Royalty Shares.

The Company will not seek rulings from the IRS with respect to any of the United States federal income tax considerations discussed in this Offering Circular. Thus, positions to be taken by the IRS as to tax consequences could differ from the positions taken by the Company.

The Company intends to provide relevant U.S. tax reporting information (e.g., Form 1099) to the Holders of the Royalty Shares. However, it may not be able to provide final tax filing information to the Holder of Royalty Shares for any given fiscal year until after the initial tax filing deadlines for Holders of the Royalty Shares tax returns. Each prospective investor is urged to consult with its own adviser as to the advisability and tax consequences of an investment in the Royalty Shares and plan to obtain extensions of the filing dates for their income tax returns as necessary.

 

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Income Interests received by us from sources outside of the U.S. may be subject to non-U.S. withholding or other taxes.

Income Interests received by us from sources outside of the U.S. may be subject to non-U.S. withholding or other taxes. In addition, the Company may also be subject to taxes in some of the non-U.S. countries where the Company purchases and sells its investments. Taxes such as withholding tax, capital gains taxes, or similar taxes may be imposed on, and thereby reduce, profits of, or proceeds arising to, the Company in respect of the Royalty Shares. It is impossible to predict the rate of non-U.S. tax the Company will pay since the portion (if any) of the Company’s assets to be invested in non-U.S. countries is not known and non-U.S. tax laws are subject to change. The Holders of Royalty Shares will be informed by the Company as to their proportionate share of taxes paid by the Company, as applicable, which they will be required to include in their income. Each investor considering purchasing Royalty Shares should consult its own tax advisor with respect to the availability of credits against tax liability for such taxes.

Risks Related to Potential Conflicts of Interest

Potential conflicts of interest may arise among Jukebox Holding or its affiliates and the Company. Jukebox Holding and its affiliates have no fiduciary duties to the Company or Holders, which may permit them to favor their own interests to the detriment of the Company or Holders.

The Manager will manage the affairs of the Company. Conflicts of interest may arise among the Manager and its affiliates. As a result of these conflicts, the Manager may favor its own interests and the interests of its affiliates over the Company or Holders. These potential conflicts include, among others, the following:

 

   

The Company has agreed to indemnify the Manager and its affiliates pursuant to the Operating Agreement;

 

   

To the extent the Manager services clients other than the Company, the Manager is responsible for allocating its own limited resources among different clients and potential future business ventures, to each of which it owes fiduciary duties;

 

   

The Manager and its staff also service, or may in the future service, affiliates of Jukebox Holding, which may include other music royalty investment vehicles and their respective clients, and may not be able to devote all of its, or their, respective time or resources to the management of the affairs of the Company; and

 

   

The Manager, its affiliates and their officers and employees are not prohibited from engaging in other businesses or activities, including those that might be in direct competition with the Company.

By purchasing the Royalty Shares, investors agree and consent to the provisions set forth in the Subscription Agreement.

For a further discussion of the conflicts of interest among the Company, Jukebox Holding, the Manager, and others, see “Interest of Management and Others in Certain Transactions.”

Jukebox Holding and the Manager are affiliated with each other.

The services provided by the Manager to the Company pursuant to the Operating Agreement may be provided through other service providers, from time to time, including entities affiliated with the Company, like Jukebox Holding. Because Jukebox Holding and the Manager are affiliated with each other, any agreement between the Company and any service providers affiliated with Jukebox Holding are not negotiated on an arm’s-length basis. The Manager may be disincentivized from replacing an affiliated service provider due to its affiliated status. In connection with this conflict of interest, Holders should understand that affiliated service providers may receive fees for directly or indirectly providing services to the Company. In the course of the Manager’s management of the Company, the Manager may have an incentive to resolve questions between the Company and the affiliated service providers, in favor of the latter.

 

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John Chapman is a director on the board of directors of Jukebox Holding and is also the sole owner and principal of Inkling Capital LLC, which is the sole member of Coda Songs LLC. Coda Songs LLC is an Income Interest Owner with which we have entered into a Purchase Agreement for the acquisition of Income Interests.

John Chapman is a director on the board of directors of Jukebox Holding and is also the sole owner and principal of Inkling Capital LLC, which is the sole member of Coda Songs LLC. In connection with this Offering, the Company has entered into a Purchase Agreement with Coda Songs LLC. The Coda Purchase Agreement was not negotiated between the parties at arm’s-length.

The Manager and Jukebox Holding, the parent of the Manager, and their respective officers, directors, and employees, will have other business interests and obligations to other entities, including interests and obligations relating to the music industry.

Jukebox Holding, the parent of the Manager, expects to engage in other business activities, including other activities relating to the music industry. Additionally, Jukebox Holding and/or the Manager may establish other entities similar to the Company and otherwise engage in other activities. The Manager is not required to operate the Company as its sole and exclusive function and it will have other business interests and will engage in other activities in addition to those relating to the Company. And, while the Company is dependent on the Manager and the Manager’s officers and employees to provide essential services pursuant to the Operating Agreement, their other business interests and activities could divert time and attention from operating the business of the Company. See “Interest of Management and Others in Certain Transactions” and “Management” for additional information.

Holders cannot be assured of the Manager’s continued services, the discontinuance of which may be detrimental to the Company.

Holders cannot be assured that the Manager will be willing or able to continue to serve as Manager to the Company pursuant to the Operating Agreement for any length of time. If the Manager discontinues its activities on behalf of the Company and a substitute administrator is not appointed, the Company may experience substantial disruption to its business operations.

Appointment of a substitute administrator will not guarantee the Company’s undisrupted operation. Because a substitute administrator may have no experience managing the administration of a music royalty investment vehicle and providing other related management services, a substitute administrator may not have the experience, knowledge or expertise required to ensure that the Company will operate successfully or continue to operate at all.

Lack of separate counsel for the Company.

The counsel of the Company (“Legal Counsel”) is also counsel to Jukebox Holding, the Manager and Jukebox Technology (the “Jukebox Entities”). Because Legal Counsel represents both the Company and the Jukebox Entities, certain conflicts of interest exist and may arise. To the extent that an irreconcilable conflict develops between the Company and any of the Jukebox Entities, Legal Counsel may represent one or more of the Jukebox Entities and not the Company. Legal Counsel may, in the future, render services to the Company or one or more of the Jukebox Entities with respect to activities relating to the Company as well as other unrelated activities. Legal Counsel is not representing any prospective investors of any Royalty Shares in connection with any Offering, although the prospective investors may rely on the opinion of Legal Counsel provided at Exhibit 12.1 to the offering statement of which this Offering Circular forms a part. Prospective investors are advised to consult their own independent counsel with respect to the other legal and tax implications of an investment this Offering.

Holders may be adversely affected by the lack of independent advisers representing them.

The Company has consulted with counsel, accountants and other advisers regarding the formation and operation of the Company. No counsel was appointed to represent investors in connection with the formation of the Company or the establishment of the terms of the Subscription Agreement and the Royalty Shares. Moreover, no counsel has been appointed to represent Holders in connection with an investment in the Royalty Shares. Accordingly, an investor should consult his, her or its own legal, tax and financial advisers regarding the desirability of an investment in the Royalty Shares. Lack of such consultation may lead to an undesirable investment decision with respect to investment in the Royalty Shares.

 

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DILUTION

The Company is currently only offering Royalty Shares to the public in this Offering at the offering price specified in this Offering Circular. The Company may issue additional Royalty Shares in the future, with such additional Royalty Shares corresponding to certain additional Income Interests that the Company may acquire in the future. Since any additional Royalty Shares issued in the future will correspond with the Company’s proportionate acquisition of such Income Interests, any such future issuance of Royalty Shares will not result in the dilution to any investors associated with this Offering.

 

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PLAN OF DISTRIBUTION

The Company is selling the Royalty Shares directly through the JKBX Platform and is not selling the Royalty Shares or soliciting investors through commissioned sales agents or broker-dealers on a “best efforts” basis. No other affiliated entity involved in the offer and sale of the Royalty Shares is currently a member firm of the FINRA and no person associated with us will be deemed to be a broker solely by reason of his or her participation in the sale of the Royalty Shares. In conducting this offering, associated persons of the Company, including its Manager, which is acting as a statutory underwriter, intend to rely on the exemption from (securities) broker registration requirements provided in Securities and Exchange Act of 1934 (the “Exchange Act”) Rule 3a4-1. Where appropriate, in order to conduct the Offering, the Company intends to register with state securities regulators as an Issuer-Dealer or register one or more of its associated persons, including the Manager, where required, with state securities regulators as an Issuer-Agent.

This Offering is currently not available to residents of the State(s) of New Jersey, Texas or Washington, pending registration with state securities regulators in such States of our Manager as an Issuer-Dealer or its Agent as an Issuer-Agent. This Offering Circular is not an offer to sell to, and is not directed to or soliciting an offer to buy these securities from, any person in any state or jurisdiction where the offer or sale is not permitted.

For additional information about the JKBX Platform, please see “Offering Summary—About the JKBX Platform.”

The JKBX Platform is not subject to the registration requirements of Section 304 of the JOBS Act because it does not offer and sell securities pursuant to Section 4(a)(6) of the Securities Act, and, therefore, does not meet the definition of a “funding portal”.

This offering circular and supplements hereto will be furnished to prospective investors upon their request via electronic PDF format and will be available for viewing and download 24 hours per day, 7 days per week on the JKBX Platform website, as well as on the SEC’s website at www.sec.gov.

Subscriptions will be made only through the JKBX Platform and payment will be made directly to the Company. The Company and its associated persons will close sales of Royalty Shares to investors in the Offering on an ongoing, continuous basis and will purchase Income Interests pursuant to each applicable Purchase Agreement in the form of Royalty Rights as proceeds from the Offering are received by the Company from investors through the sale of Royalty Shares in the Offering that correspond to such Royalty Rights. The subscription funds paid by investors as part of the subscription process will be held in a designated account of the Company.

As described more fully in “Estimate Use of Proceeds,” all costs, fees, and expenses of the Offering will be paid by the Company in the following order of priority of payment:

 

   

Acquisition Cost of the Royalty Rights;

 

   

Reimbursement of Organizational and Offering Costs; and

 

   

Net Proceeds to the Company.

The Company is seeking to qualify an amount of Royalty Shares that it reasonably expects to be able to sell within two (2) years from the date of initial qualification. In any event, however, the Offering will not exceed three (3) years from the date of commencement in accordance with Rule 251(d)(3)(F) of Regulation A. The Company reserves the right to terminate the Offering for any reason at any time prior to the final closing.

We reserve the right to reject any investor’s subscription in whole or in part for any reason, including if we determine in our sole and absolute discretion that such investor is not a “qualified purchaser” for purposes of Section 18(b)(4)(D)(ii) of the Securities Act. If the offering terminates or if any prospective investor’s subscription is rejected, all funds received from such investors will be returned without interest or deduction.

To the extent that the funds are not ultimately received by us or are subsequently withdrawn by the subscriber, whether due to an ACH chargeback or otherwise, the Subscription Agreement will be considered terminated, and the subscriber will not be entitled to any Royalty Shares subscribed for or distributions of revenue related thereto that may have accrued. Such subscriber may further be restricted from using the JKBX Platform, as determined in our sole discretion.

Testing-the-Waters: Reservation Process

In order for us to assess the demand for and valuation of Music Assets, the corresponding rights of which are available to be issued through Royalty Shares pursuant hereto, we utilize a reservation process conducted on the JKBX Platform (the “Reservation Process”) during a testing the waters period under Rule 255 of Regulation A. The Reservation Process is non-binding, and no commitments to invest or funds will be accepted prior to qualification of a series of Royalty Shares, and any reservations made pursuant to the Reservation Process may be cancelled for any reason at any time. Reservations made pursuant to the Reservation Process that are not subsequently cancelled will nonetheless not obligate a prospective investor to later complete the relevant purchase, unless affirmatively authorized by the prospective investor after reviewing the terms and price in connection with the relevant Royalty Share. The Reservation Process is solely being used to gauge interest in certain Music Assets and their corresponding Royalty Rights, as well as to create a mailing list for prospective investors who wish to receive further information in connection with the Offering. Certain Music Assets that are presented in the Reservation Process may never become available for purchase as Royalty Shares. Furthermore, Royalty Shares that are made available for purchase may nonetheless become oversubscribed despite a prospective investor’s participation in the Reservation Process.

Upon the qualification of a series of Royalty Shares, prospective investors who have indicated interest in such Royalty Shares through the Reservation Process will be contacted by Jukebox Technology to establish an account on the JKBX Platform for purposes of participation in the Offering. Prospective investors will also receive a copy of the Offering Circular at this time, before any purchase of Royalty Shares is enabled. The price for each Royalty Share as indicated in the Reservation Process is subject to change, such that the actual purchase price for such Royalty Share may be higher or lower at the time such Royalty Share is made available for purchase.

Online Subscriptions and Bank Account

Royalty Shares being qualified in this Offering will be offered by the Company and its associated persons through the JKBX Platform located at https://www.jkbx.com. In conducting this offering, our associated persons intend to rely on the exemption from broker-dealer registration contained in Exchange Act Rule 3a4-1. The Company’s offering on the JKBX Platform will allow investors to acquire economic exposure to the Company’s contractual right to Income Interests from certain Purchase Agreements. Through the JKBX Platform, investors can, once they establish a profile, browse and screen potential music royalty investments offered by the Company, view details of an investment and sign contractual documents online, link a financial account to their JKBX Platform account, and indicate interest in Royalty Shares. After the qualification by the SEC of the offering statement of which this Offering Circular is a part, the Company and its associated persons will conduct the Offering through the JKBX Platform, whereby investors will be able to receive, review, execute and deliver Subscription Agreements electronically as well as make payment of the purchase price by authorizing a transfer from their JKBX Platform account into our operating account. The Company may also permit payment to be made by credit cards, provided that such payments may be subject to additional restrictions. Investors contemplating using their credit card to invest are urged to carefully review “Risk Factors—Risks of investing using a credit card.” In the event the Company enables credit card payment for subscriptions, such credit card payment will result in incurrence of third-party fees and charges, interest obligations which will lower your expected investment returns and could exceed your actual returns. In addition, if you cannot meet your minimum payment obligation, you may damage your credit profile which would make it more difficult and more expensive to borrow in the future. On any relevant closing date, the funds in the account will be released to us and the associated Royalty Shares will be issued to the investors in this Offering. If there are no closings of this Offering, the funds deposited in the designated account will be promptly returned to subscribers, without deduction and generally without interest.

 

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Upon each closing under the terms as set out in this Offering Circular, funds will be immediately transferred to us (where the funds will be available for use in the operations of the Company’s business in a manner consistent with the “Estimated Use of Proceeds” in this Offering Circular).

Purchase Agreement with Owners of Compositions and Recordings

We have entered, and will enter, into Purchase Agreements with certain Income Interest Owners. Through the Purchase Agreement, the Income Interest Owners will sell to us certain Income Interests related to certain Music Assets owned by such Income Interest Owner. The Purchase Agreement shall continue for a specified term of years, as the case may be, by which the Income Interest Owner will, on an ongoing basis, enter into multiple asset purchase transactions in the form of schedules to each Purchase Agreement (each, a “Purchase Agreement Schedule”), which are to be negotiated in good faith by the Income Interest Owner and the Company. In connection with each Purchase Agreement, the Income Interest Owner sells, assigns, and transfers a portion or percentage of their Income Interests in each Music Asset to the Company, as well as, if available in certain cases, a right to use any artist or writer materials in the Company’s marketing and promotions. The Purchase Agreement and each respective Purchase Agreement Schedule are constructed so that the Company receives only passive Income Interests in Music Assets, but not the copyright, administration, or distribution rights. The prices for each Income Interest purchased by the Company in the form of Royalty Rights are also negotiated in good faith and are individualized to each Purchase Agreement Schedule. This price negotiation includes the disclosure of the percent Income Interest the Income Interest Owner has in each Music Asset, and how much of such Income Interest they are willing to sell to the Company. In order to sell a portion or all of the Income Interest Owner’s Income Interest to the Company, the Income Interest Owner must assign their Income Interests in the specifically negotiated for Music Asset to the Company.

Each Purchase Agreement provides the Company with the option to purchase any one or more of the Income Interests provided for in the Purchase Agreement Schedules. There is no minimum amount of Income Interests that must be purchased either as a proportion of all such Income Interests that have been made available pursuant to the Purchase Agreement or as it relates to other Income Interests for which the Company has an option to purchase in the Purchase Agreement. Independent of the terms of any specific Purchase Agreement(s), the Company will use its discretion in creating each series of Royalty Shares and the Income Interests associated therewith. In so doing, the Company may elect to issue series of Royalty Shares in this Offering that reflect economic exposure to Income Interests related to a single Music Asset (i.e., a song) or a compilation of Music Assets (i.e., an album). Each series of Royalty Shares and information about the Income Interests and related Music Asset(s) which comprise the series are described in “Description of the Music Assets Underlying the Royalty Shares,” the “Royalty Shares Offering Table” beginning on page 65 and the “Composition and Recording Rights” table beginning on page 48. After qualification of an offering statement, the Company may add additional Royalty Shares or series of Royalty Shares by post-qualification amendment to the offering statement.

Book-Entry Records of Royalty Shares and Custodial Accounts

Ownership of the Royalty Shares will be represented in “book-entry” only form directly in the name of the respective owner of the Royalty Shares and shall be recorded by the Transfer Agent and no physical certificates shall be issued, nor received, by the Company, the Transfer Agent, or any other person. The Company shall send out email confirmations of positions and notifications of changes “from” us upon each and every event affecting any person’s ownership interest.

The Company will enter into a custody agreement with the Custodian, a form of which is included as Exhibit 6.5 to the offering statement. Investors will also be required to enter into the custody agreement with the Custodian in order to open an account on the JKBX Platform with the Custodian for the purpose of holding Royalty Shares and cash, with any information necessary to create the account being provided by the investor through the JKBX Platform. The Royalty Shares will be issued into each Investor’s custodial account on the JKBX Platform and held by the Custodian for the benefit of investors.

Investment Amount Limitations

The minimum purchase threshold for an investor to participate in this Offering is one (1) Royalty Share per series. We can waive any investment amount limitations or requirements by posting such change to our website or on a case-by-case basis in our sole discretion. Subscriptions, once received, are irrevocable by the investors but can be rejected by us.

Generally, no sale may be made to you in this Offering if the aggregate purchase price you pay is more than 10% of the greater of your annual income or net worth. Different rules apply to accredited investors and non-natural persons. Before making any representation that your investment does not exceed applicable thresholds, we encourage you to review Rule 251(d)(2)(i)(C) of Regulation A. For general information on investing, you are encouraged to refer to www.investor.gov.

As a Tier 2, Regulation A offering, investors must comply with the 10% limitation to investment in the Offering. The only investor in this Offering exempt from this limitation is an accredited investor, an “Accredited Investor,” as defined under Rule 501 of Regulation D. If you meet one of the following tests, you should qualify as an Accredited Investor:

 

       (i)

You are a natural person who has had individual income in excess of $200,000 in each of the two most recent years, or joint income with your spouse or spousal equivalent in excess of $300,000 in each of these years, and have a reasonable expectation of reaching the same income level in the current year;

 

       (ii)

You are a natural person and your individual net worth, or joint net worth with your spouse or spousal equivalent, exceeds $1,000,000 at the time you purchase Royalty Shares (please see below on how to calculate your net worth);

 

       (iii)

You are a director, executive officer or general partner of the issuer or a director, executive officer, or general partner of the general partner of the issuer;

 

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  (iv)

You are an organization described in Section 501(c)(3) of the Internal Revenue Code of 1986, as amended, or the Code, a corporation, a Massachusetts or similar business trust or a partnership, or limited liability company, not formed for the specific purpose of acquiring the Royalty Shares, with total assets in excess of $5,000,000;

 

  (v)

You are a bank or a savings and loan association or other institution as defined in the Securities Act, a broker or dealer registered pursuant to Section 15 of the Exchange Act, an investment advisor registered pursuant to the Investment Advisers Act of 1940 or registered pursuant to the laws of a state, an investment advisor relying on the exemption of registering with the SEC under the Investment Advisers Act of 1940, an insurance company as defined by the Securities Act, an investment company registered under the Investment Company Act of 1940, or a business development company as defined in that act, any Small Business Investment Company licensed by the Small Business Investment Act of 1958, or a Rural Business Investment Company as defined in the Consolidated Farm and Rural Development Act, or a private business development company as defined in the Investment Advisers Act of 1940;

 

  (vi)

You are an entity (including an Individual Retirement Account trust) in which each equity owner is an accredited investor;

 

  (vii)

You are a trust with total assets in excess of $5,000,000, your purchase of Royalty Shares is directed by a person who either alone or with his purchaser representative(s) (as defined in Regulation D promulgated under the Securities Act) has such knowledge and experience in financial and business matters that he is capable of evaluating the merits and risks of the prospective investment, and you were not formed for the specific purpose of investing in the Royalty Shares; or

 

  (viii)

You are a plan established and maintained by a state, its political subdivisions, or any agency or instrumentality of a state or its political subdivisions, for the benefit of its employees, if such plan has assets in excess of $5,000,000; an employee benefit plan within the meaning of the Employee Retirement Income Security Act of 1974 if the investment decision is made by a plan fiduciary, as defined in such act, which is either a bank, savings and loan association, insurance company, or registered investment adviser, or if the employee benefit plan has total assets in excess of $5,000,000 or, if a self-directed plan, with investment decisions made solely by persons that are accredited investors;

 

  (ix)

You are an entity, of a type not listed in the above paragraphs (iv), (v), (vi), (vii), or (viii), not formed for the specific purpose of acquiring the Royalty Shares, owning investments in excess of $5,000,000;

 

  (x)

You are a natural person holding in good standing one or more professional certifications or designations or credentials from an accredited educational institution that the SEC has designated as qualifying an individual for accredited investor status;

 

  (xi)

You are a “family office,” as defined by the Investment Advisers Act of 1940, with assets under management in excess of $5,000,000, and is not formed for the specific purpose of acquiring the Royalty Shares, and your prospective investment is directed by a person who has such knowledge and experience in financial and business matters that such family office is capable of evaluating the merits and risks of the prospective investment;

 

  (xii)

You are a “family client,” as defined under the Investment Advisers Act of 1940, of a family office meeting the requirements in the above paragraph (xi), and your prospective investment in the issuer is directed by such family office pursuant to the above paragraph (xi).

Offering Period and Expiration Date

We will commence the sale and ongoing offering of each series of Royalty Shares on the date on which the offering statement of which this Offering Circular is a part is declared qualified by the SEC. The Company will conduct the Offering on a continuous ongoing basis upon qualification and may close sales of each series of the Royalty Shares to investors on an ongoing, continuous basis. Throughout this Offering Circular, we have assumed multiple closings on an ongoing, continuous basis as proceeds are received by the Company from investors in the Offering and refer to the “final closing” as the last such closing. The Company is seeking to qualify an amount of Royalty Shares that it reasonably expects to be able to sell within two (2) years from the date of initial qualification. In any event, however, the Offering will not exceed three (3) years from the date of commencement in accordance with Rule 251(d)(3)(F) of Regulation A. The Company reserves the right to terminate this Offering for any reason at any time prior to the final closing.

 

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JKBX Platform

We and our associated persons plan to use the JKBX Platform website at https://www.jkbx.com to provide notification of this anticipated Offering. Prior to the qualification of the Offering by the SEC, we may post information about this anticipated Offering on the JKBX Platform website. This Offering Circular as well as amendments to this Offering Circular after it has been publicly filed and prior to qualification by the SEC will be furnished to prospective investors for their review via download 24 hours per day, 7 days per week on the website as well.

Procedures for Subscribing

After the qualification by the SEC of the offering statement of which this Offering Circular is a part, if you decide to subscribe for any Royalty Shares in this Offering, you should go to the JKBX Platform at https://www.jkbx.com, and follow the links and procedures described on the website. The website will direct you to receive (upon your acknowledgement that you have had the opportunity to review this Offering Circular), review, execute and deliver the Royalty Share Agreement and Subscription Agreement electronically. The JKBX Platform provides a secure portal to enable you to subscribe as follows:

 

  1.

At any point in time, you can create an account on the JKBX Platform. Such account is required for participation in the Reservation Process and/or this Offering; provided that further information is required for accounts intended to be used to purchase Royalty Shares in connection with this Offering.

 

  2.

Once an offering has been qualified by the SEC, you can initiate the subscription process by clicking a button confirming your intent to purchase a Royalty Share.

 

  3.

If you have not already created an account on the JKBX Platform, in order to participate in this Offering, you will need to do so by providing your identifying information, including your legal name, date of birth, email address, country of citizenship, a copy of your government-issued identification, banking information, address, country of residence, telephone number; and establishing a password. You will further be prompted to provide your address and country of residence, as well as your telephone number.

An identity verification process is additionally required, which will prompt you to enter your social security number and/or passport number (as applicable) and any other KYC Information requested. You will then have the opportunity to review and acknowledge the terms and conditions of the JKBX Platform.

 

  4.

Before you can confirm your purchase, you will be presented with a link to the final Offering Circular (and any post-qualification supplements or amendments, if applicable) and basic information about the Offering, the number of Royalty Shares offered, the maximum aggregate offering amount, and the minimum investment amount.

 

  5.

You will be requested to enter and confirm the number of Royalty Shares you wish to subscribe for and confirm the corresponding dollar amount of your proposed subscription.

 

  6.

You will be requested open an account on the JKBX Platform with the Custodian and to connect to your bank account through Plaid in order to transfer funds to your account on the JKBX Platform.

 

  7.

After creating an account, adding a financial account, and selecting the specific Royalty Shares you desire to purchase, you will be directed to review and execute a copy of the Royalty Share Agreement and Subscription Agreement.

 

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Any potential investor will have ample time to review the Royalty Share Agreement and Subscription Agreement, along with their counsel, prior to making any final investment decision. We will not accept any money until the SEC declares this Offering Circular qualified.

The subscription funds paid by investors as part of the subscription process will be held in a designated account of the Company. The Company will close sales of Royalty Shares to investors in the Offering on an ongoing, continuous basis and will purchase Income Interests pursuant to each applicable Purchase Agreement in the form of Royalty Rights as proceeds from the Offering are received by the Company from investors through the sale of Royalty Shares in the Offering that correspond to such Royalty Rights. If there are no closings or if funds remain in the account upon termination of this Offering without any corresponding closing, the funds deposited in the designated account will be promptly returned to subscribers, without deduction and generally without interest.

You will be required to represent and warrant in your Subscription Agreement that you are an accredited investor as defined under Rule 501 of Regulation D or that your investment in the Royalty Shares does not exceed 10% of your net worth or annual income, whichever is greater, if you are a natural person, or 10% of your revenues or net assets, whichever is greater, calculated as of your most recent fiscal year if you are a non-natural person. By completing and executing your Royalty Share Agreement and Subscription Agreement you will also acknowledge and represent that you have received a copy of this Offering Circular, you are purchasing the Royalty Shares for your own account and that your rights and responsibilities regarding your Royalty Shares will be governed by the Royalty Share Agreement and Subscription Agreement, each filed as an exhibit to the offering statement of which this Offering Circular forms an integral part.

Right to Reject Subscriptions. After we receive your complete, executed Royalty Share Agreement and Subscription Agreement and the funds required under these agreements have been transferred to the Company’s designated bank account, we have the right to review and accept or reject your subscription in whole or in part, for any reason or for no reason. We will return all monies from rejected subscriptions immediately to you, without interest or deduction.

Acceptance of Subscriptions. Upon our acceptance of a Royalty Share Agreement and Subscription Agreement, we will countersign the Royalty Share Agreement and Subscription Agreement and issue the Royalty Shares subscribed at the applicable closing. Once you submit the Royalty Share Agreement and Subscription Agreement and they are accepted, you may not revoke or change your subscription or request your subscription funds. All accepted Royalty Share Agreements and Subscription Agreements are irrevocable.

 

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Under Rule 251 of Regulation A, non-accredited, non-natural investors are subject to the investment limitation and may only invest funds which do not exceed 10% of the greater of the purchaser’s revenue or net assets (as of the purchaser’s most recent fiscal year end). A non-accredited, natural person may only invest funds which do not exceed 10% of the greater of the purchaser’s annual income or net worth (please see below on how to calculate your net worth).

For the purposes of calculating your Net Worth, it is defined as the difference between total assets and total liabilities. This calculation must exclude the value of your primary residence and may exclude any indebtedness secured by your primary residence (up to an amount equal to the value of your primary residence). In the case of fiduciary accounts, net worth and/or income suitability requirements may be satisfied by the beneficiary of the account or by the fiduciary, if the fiduciary directly or indirectly provides funds for the purchase of the Royalty Shares.

In order to purchase Royalty Shares and prior to the acceptance of any funds from an investor, an investor will be required to represent, to our satisfaction, that he or she is either an accredited investor or is in compliance with the 10% of net worth or annual income limitation on investment in this Offering.

Manager

Given its involvement in the offer and sale of Royalty Shares in connection with the Company’s Offering, the Manager is deemed to be a statutory underwriter solely for purposes of Section 2(a)(11) of the Securities Act. A statutory underwriter is subject to the prospectus delivery and liability provisions of the Securities Act, and Regulation M. The Manager is acting in its capacity as an associated person of the Company in relation to the Offering pursuant to Exchange Act Rule 3a4-1 and is not registered or required to be registered as a broker-dealer with the SEC and the Financial Industry Regulatory Authority (FINRA).

Trust and Trust Agreement

The Company will convey, or cause to be conveyed, any Royalty Rights it receives pursuant to the Purchase Agreements and any Royalty Share Payments payable to Holders of Royalty Shares to a newly formed statutory trust established under Delaware state law (the “Trust”), which will hold the Royalty Rights. The Trust will be created to acquire and hold Royalty Rights and Royalty Share Payments, pending distribution to Holders of Royalty Shares, for the benefit of the Holders of Royalty Shares pursuant to a trust agreement (the “Trust Agreement”) among the Company, in its separate and distinct capacities as grantor of the Trust and Management Trustee, and Delaware Trust Company, in its capacity as Delaware Trustee. For additional information, see “Description of the Trust Agreement.”

Transfer Agent

Brassica Services LLC, an SEC-registered transfer agent, will serve as our transfer agent and registrar in connection with this Offering. In general, this means that Brassica Services LLC will:

 

       1.

Maintain a record of ownership of Royalty Shares for each Series, including contact information of all registered Holders of Royalty Shares; and

 

       2.

Maintain a record of the transfer, issuance and cancellation of any and all Royalty Shares

Selling Restrictions

Notice to prospective investors in Canada

The Offering of the Royalty Shares in Canada is being made on a private placement basis in reliance on exemptions from the prospectus requirements under the securities laws of each applicable Canadian province and territory where the Royalty Shares may be offered and sold, and therein may only be made with investors that are purchasing as principal and that qualify as both an “accredited investor” as such term is defined in National Instrument 45-106 Prospectus and Registration Exemptions and as a “permitted client” as such term is defined in National Instrument 31-103 Registration Requirements, Exemptions and Ongoing Registrant Obligation. Any offer and sale of the Royalty Shares in any province or territory of Canada may only be made through a dealer that is properly registered under the securities legislation of the applicable province or territory wherein the Royalty Shares are offered and/or sold or, alternatively, by a dealer that qualifies under and is relying upon an exemption from the registration requirements therein.

Any resale of the Royalty Shares by an investor resident in Canada must be made in accordance with applicable Canadian securities laws, which may require resales to be made in accordance with prospectus and registration requirements, statutory exemptions from the prospectus and registration requirements or under a discretionary exemption from the prospectus and registration requirements granted by the applicable Canadian securities regulatory authority. These resale restrictions may under certain circumstances apply to resales of the Royalty Shares outside of Canada.

Upon receipt of this document, each Canadian investor hereby confirms that it has expressly requested that all documents evidencing or relating in any way to the sale of the securities described herein (including for greater certainty any purchase confirmation or any notice) be drawn up in the English language only. Par la réception de ce document, chaque investisseur canadien confirme par les présentes qu’il a expressément exigé que tous les documents faisant foi ou se rapportant de quelque manière que ce soit à la vente des valeurs mobilières décrites aux présentes (incluant, pour plus de certitude, toute confirmation d’achat ou tout avis) soient rédigés en anglais seulement.

 

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Notice to prospective investors in the European Economic Area

The Royalty Shares are not intended to be offered, sold, or otherwise made available to and should not be offered, sold, or otherwise made available to any retail investor in the European Economic Area (“EEA”). For these purposes, a retail investor means a person who is one (or more) of: (i) a retail client as defined in point (11) of Article 4(1) of Director 2014/65/EU (as amended, “MiFID II”); (ii) a customer within the meaning of Directive (EU) 2016/97, as amended, where that customer would not qualify as a professional client as defined in point (10) of Article 4(1) of MiFID II; or (iii) not a qualified investor (“Qualified Investor”) as defined in Regulation (EU) 2017/1129 (as amended, the “Prospectus Regulation”). Consequently, no key information document required by Regulation (EU) No 1286/2014 (as amended, the “PRIIPs Regulation”) for offering or selling the Royalty Shares or otherwise making them available to retail investors in the EEA has been prepared and therefore offering or selling the Royalty Shares or otherwise making them available to any retail investor in the EEA may be unlawful under the PRIIPs Regulation.

This Offering Circular has been prepared on the basis that any offer of Royalty Shares in the EEA will be made pursuant to an exemption under the Prospectus Regulation from the requirement to publish a prospectus for offers of notes. Neither the Company nor the Manager has authorized, nor do they authorize, the making of any offer of Royalty Shares in the EEA other than to Qualified Investors. This Offering Circular is not a prospectus for the purposes of the Prospectus Regulation.

In relation to each Member State of the European Economic Area (each, a “Relevant Member State”), no offer of Royalty Shares may be made to the public in that Relevant Member State other than:

 

   

To any legal entity which is a qualified investor as defined in the Prospectus Directive;

 

   

To fewer than 100 or, if the Relevant Member State has implemented the relevant provision of the 2010 PD Amending Directive, 150, natural or legal persons (other than qualified investors as defined in the Prospectus Directive), as permitted under the Prospectus Directive, subject to obtaining the prior consent of the representatives; or

 

   

In any other circumstances falling within Article 3(2) of the Prospectus Directive, provided that no such offer of Royalty Shares shall require us to publish a prospectus pursuant to Article 3 of the Prospectus Directive or supplement a prospectus pursuant to Article 16 of the Prospectus Directive.

Each person in a Relevant Member State who initially acquires any Royalty Shares or to whom any offer is made will be deemed to have represented, acknowledged and agreed that it is a “qualified investor” within the meaning of the law in that Relevant Member State implementing Article 2(1)(e) of the Prospectus Directive. In the case of any Royalty Shares being offered to a financial intermediary as that term is used in Article 3(2) of the Prospectus Directive, each such financial intermediary will be deemed to have represented, acknowledged and agreed that the Royalty Shares acquired by it in the offer have not been acquired on a non-discretionary basis on behalf of, nor have they been acquired with a view to their offer or resale to, persons in circumstances which may give rise to an offer of any Royalty Shares to the public other than their offer or resale in a Relevant Member State to qualified investors as so defined or in circumstances in which the prior consent of the representatives has been obtained to each such proposed offer or resale.

We, the representatives and their affiliates will rely upon the truth and accuracy of the foregoing representations, acknowledgements and agreements.

This Offering Circular has been prepared on the basis that any offer of Royalty Shares in any Relevant Member State will be made pursuant to an exemption under the Prospectus Directive from the requirement to publish a prospectus for offers of Royalty Shares. Accordingly, any person making or intending to make an offer in that Relevant Member State of Royalty Shares which are the subject of the Offering contemplated in this Offering Circular may only do so in circumstances in which no obligation arises for us to publish a prospectus pursuant to Article 3 of the Prospectus Directive in relation to such offer. We have not authorized, nor do we authorize, the making of any offer of Royalty Shares in circumstances in which an obligation arises for us to publish a prospectus for such offer.

For the purpose of the above provisions, the expression “an offer to the public” in relation to any Royalty Shares in any Relevant Member State means the communication in any form and by any means of sufficient information on the terms of the offer and the Royalty Shares to be offered so as to enable an investor to decide to purchase or subscribe the Royalty Shares, as the same may be varied in the Relevant Member State by any measure implementing the Prospectus Directive in the Relevant Member State and the expression “Prospectus Directive” means Directive 2003/71/EC (including the 2010 PD Amending Directive, to the extent implemented in the Relevant Member States) and includes any relevant implementing measure in the Relevant Member State and the expression “2010 PD Amending Directive” means Directive 2010/73/EU.

Notice to prospective investors in the United Kingdom

This Offering Circular may only be communicated or caused to be communicated and is being communicated only to, and is directed only at, persons who (i) are outside the United Kingdom (the “UK”), or (ii) have professional experience in matters relating to investments and who are investment professionals, as such term is defined in Article 19(5) of the Financial Services and Markets Act 2000 (Financial Promotion) Order 2005 (as amended, the “Financial Promotion Order”), or (iii) fall within Article 49(2)(a) through (d) (“High net worth companies, unincorporated associations, etc.”) of the Financial Promotion Order, or (iv) are persons to whom an invitation or inducement to engage in investment activity (within the meaning of Section 21 of the Financial Services and Markets Act 2000, as amended (the “FSMA”)) in connection with the issue or sale of any securities may otherwise lawfully be communicated or be caused to be communicated (all such persons together being referred to as “Relevant Persons”). In the UK, this Offering Circular or any of its contents must not be acted on or relied on by persons who are not Relevant Persons. In the UK, any investment or investment activity to which this Offering Circular relates, including the Royalty Shares, is available only to Relevant Persons and will be engaged in only with Relevant Persons. The communication of this Offering Circular to any person in the UK who is not a Relevant Person is unauthorized and may contravene the FSMA.

 

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Prospective investors in the UK are advised that all, or most, of the protections afforded by the UK regulatory system will not apply to an investment in the Royalty Shares and that compensation will not be available under the UK Financial Services Compensation Scheme.

The Royalty Shares are not intended to be offered, sold, or otherwise made available to and should not be offered, sold, or otherwise made available to any retail investor in the UK. For these purposes, a retail investor means a person who is one (or more) of: (i) a retail client, as defined in point (8) of Article 2 of Commission Delegated Regulation (EU) 2017/565 (as amended) as it forms part of UK domestic law by virtue of the European Union (Withdrawal) Act 2018 (as amended, the “EUWA”); (ii) a customer within the meaning of the provisions of the FSMA and any rules or regulations made under the FSMA to implement Directive (EU) 2016/97 (as amended), where that customer would not qualify as a professional client, as defined in point (8) of Article 2(1) of Regulation (EU) No 600/2014 (as amended) as if forms part of UK domestic law by virtue of the EUWA; or (iii) not a qualified investor as defined in Article 2 of Regulation (EU) 2017/1129 as if forms part of UK domestic law by virtue of the EUWA (as amended, the “UK Prospectus Regulation”) (a “UK Qualified Investor”). Consequently no key information document required by Regulation EU No 1286/2014 as it forms part of UK domestic law by virtue of the EUWA (the “UK PRIIPs Regulation”) for offering or selling the Royalty Shares or otherwise making them available to retail investors in the UK has been prepared and therefore offering or selling the Royalty Shares or otherwise making them available to any retail investor in the UK may be unlawful under the UK PRIIPs Regulation.

This Offering Circular has been prepared on the basis that any offer of Royalty Shares in the UK will be made pursuant to an exemption under the UK Prospectus Regulation from the requirement to publish a prospectus for offers of notes. This Offering Circular is not a prospectus for the purposes of the UK Prospectus Regulation. Neither the Company nor the Manager has authorized, nor do they authorize, the making of any offer of Royalty Shares in the UK other than to UK Qualified Investors. This Offering Circular is not a prospectus for the purposes of the UK Prospectus Regulation.

Notice to Prospective Investors in Switzerland

The Royalty Shares may not be publicly offered in Switzerland and will not be listed on the SIX Swiss Exchange, or SIX, or on any other stock exchange or regulated trading facility in Switzerland. This document has been prepared without regard to the disclosure standards for issuance prospectuses under art. 652a or art. 1156 of the Swiss Code of Obligations or the disclosure standards for listing prospectuses under art. 27 ff. of the SIX Listing Rules or the listing rules of any other stock exchange or regulated trading facility in Switzerland. Neither this document nor any other offering or marketing material relating to the Royalty Shares or this Offering may be publicly distributed or otherwise made publicly available in Switzerland.

Neither this document nor any other offering or marketing material relating to this Offering, our Company, the Royalty Shares have been or will be filed with or approved by any Swiss regulatory authority. In particular, this document will not be filed with, and the offer of Royalty Shares will not be supervised by, the Swiss Financial Market Supervisory Authority FINMA (FINMA), and the offer of Royalty Shares has not been and will not be authorized under the Swiss Federal Act on Collective Investment Schemes, or CISA. The investor protection afforded to acquirers of interests in collective investment schemes under the CISA does not extend to acquirers of Royalty Shares.

Notice to Prospective Investors in the Dubai International Financial Centre

This Offering Circular relates to an Exempt Offer in accordance with the Offered Securities Rules of the Dubai Financial Services Authority, or DFSA. This Offering circular is intended for distribution only to persons of a type specified in the Offered Securities Rules of the DFSA. It must not be delivered to, or relied on by, any other person. The DFSA has no responsibility for reviewing or verifying any documents in connection with Exempt Offers. The DFSA has not approved this Offering Circular nor taken steps to verify the information set forth herein and has no responsibility for the Offering Circular. The Royalty Shares to which this Offering Circular relates may be illiquid and/or subject to restrictions on their resale. Prospective purchasers of the Royalty Shares offered should conduct their own due diligence on the Royalty Shares. If you do not understand the contents of this Offering Circular you should consult an authorized financial advisor.

Notice to Prospective Investors in Australia

No placement document, prospectus, product disclosure statement or other disclosure document has been lodged with the Australian Securities and Investments Commission, or ASIC, in relation to this Offering. This Offering Circular does not constitute a prospectus, product disclosure statement or other disclosure document under the Corporations Act 2001, or the Corporations Act, and does not purport to include the information required for a prospectus, product disclosure statement or other disclosure document under the Corporations Act.

Any offer in Australia of the Royalty Shares may only be made to persons, or the Exempt Investors, who are “sophisticated investors” (within the meaning of section 708(8) of the Corporations Act), “professional investors” (within the meaning of section 708(11) of the Corporations Act) or otherwise pursuant to one or more exemptions contained in section 708 of the Corporations Act so that it is lawful to offer the Royalty Shares without disclosure to investors under Chapter 6D of the Corporations Act.

The Royalty Shares applied for by Exempt Investors in Australia must not be offered for sale in Australia in the period of 12 months after the date of allotment under this Offering, except in circumstances where disclosure to investors under Chapter 6D of the Corporations Act would not be required pursuant to an exemption under section 708 of the Corporations Act or otherwise or where the offer is pursuant to a disclosure document which complies with Chapter 6D of the Corporations Act. Any person acquiring Royalty Shares must observe such Australian on-sale restrictions.

This Offering Circular contains general information only and does not take account of the investment objectives, financial situation or particular needs of any particular person. It does not contain any securities recommendations or financial product advice. Before making an investment decision, investors need to consider whether the information in this Offering Circular is appropriate to their needs, objectives and circumstances, and, if necessary, seek expert advice on those matters.

Notice to prospective investors in China

This Offering Circular does not constitute a public offer of the Royalty Shares, whether by sale or subscription, in the People’s Republic of China (the “PRC”). The Royalty Shares are not being offered or sold directly or indirectly in the PRC to or for the benefit of, legal or natural persons of the PRC.

 

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Further, no legal or natural persons of the PRC may directly or indirectly purchase any of the Royalty Shares or any beneficial interest therein without obtaining all prior PRC’s governmental approvals that are required, whether statutorily or otherwise. Persons who come into possession of this document are required by the issuer and its representatives to observe these restrictions.

Notice to Prospective Investors in Hong Kong

The Royalty Shares have not been offered or sold and will not be offered or sold in Hong Kong, by means of any document, other than (a) to “professional investors” as defined in the Securities and Futures Ordinance (Cap. 571) of Hong Kong and any rules made under that Ordinance; or (b) in other circumstances which do not result in the document being a “prospectus” as defined in the Companies Ordinance (Cap. 32) of Hong Kong or which do not constitute an offer to the public within the meaning of that Ordinance. No advertisement, invitation or document relating to the Royalty Shares has been or may be issued or has been or may be in the possession of any person for the purposes of issue, whether in Hong Kong or elsewhere, which is directed at, or the contents of which are likely to be accessed or read by, the public of Hong Kong (except if permitted to do so under the securities laws of Hong Kong) other than with respect to Royalty Shares which are or are intended to be disposed of only to persons outside Hong Kong or only to “professional investors” as defined in the Securities and Futures Ordinance and any rules made under that Ordinance.

Notice to Prospective Investors in Japan

The Royalty Shares have not been and will not be registered under the Financial Instruments and Exchange Law of Japan (Law No. 25 of 1948, as amended) and, accordingly, will not be offered or sold, directly or indirectly, in Japan, or for the benefit of any Japanese Person or to others for re-offering or resale, directly or indirectly, in Japan or to any Japanese Person, except in compliance with all applicable laws, regulations and ministerial guidelines promulgated by relevant Japanese governmental or regulatory authorities in effect at the relevant time. For the purposes of this paragraph, “Japanese Person” shall mean any person resident in Japan, including any corporation or other entity organized under the laws of Japan.

Notice to Prospective Investors in Singapore

This Offering Circular has not been registered as a prospectus with the Monetary Authority of Singapore. Accordingly, this Offering Circular and any other document or material in connection with the offer or sale, or invitation for subscription or purchase, of Royalty Shares may not be circulated or distributed, nor may the Royalty Shares be offered or sold, or be made the subject of an invitation for subscription or purchase, whether directly or indirectly, to persons in Singapore other than (i) to an institutional investor under Section 274 of the Securities and Futures Act, Chapter 289 of Singapore, or the SFA, (ii) to a relevant person pursuant to Section 275(1), or any person pursuant to Section 275(1A), and in accordance with the conditions specified in Section 275, of the SFA, or (iii) otherwise pursuant to, and in accordance with the conditions of, any other applicable provision of the SFA. Where the Royalty Shares are subscribed or purchased under Section 275 of the SFA by a relevant person which is:

 

        (a)

A corporation (which is not an accredited investor (as defined in Section 4A of the SFA)) the sole business of which is to hold investments and the entire Class A share capital of which is owned by one or more individuals, each of whom is an accredited investor; or

 

        (b)

A trust (where the trustee is not an accredited investor) whose sole purpose is to hold investments and each beneficiary of the trust is an individual who is an accredited investor, securities (as defined in Section 239(1) of the SFA) of that corporation or the beneficiaries’ rights and interest (howsoever described) in that trust shall not be transferred within six months after that corporation or that trust has acquired the Royalty Shares pursuant to an offer made under Section 275 of the SFA except:

 

  a.

To an institutional investor or to a relevant person defined in Section 275(2) of the SFA, or to any person arising from an offer referred to in Section 275(1A) or Section 276(4)(i)(B) of the SFA;

 

  b.

Where no consideration is or will be given for the transfer;

 

  c.

Where the transfer is by operation of law;

 

  d.

As specified in Section 276(7) of the SFA; or

 

  e.

As specified in Regulation 32 of the Securities and Futures (Offers of Investments) (Royalty Shares and Debentures) Regulations 2005 of Singapore.

 

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ESTIMATED USE OF PROCEEDS

The allocation of the net proceeds from this Offering set forth below represents our intentions based upon our current plans and assumptions regarding our acquisition of Royalty Rights and the issuance of Royalty Shares. The Company reserves the right to modify the use of proceeds. Many of the amounts set forth in the table below represent our best estimate since they cannot be precisely calculated at this time.

As the proceeds raised in this Offering primarily will be used to purchase the Royalty Rights described herein (subject to the payment of any disclosed offering expenses), we do not anticipate that the amount of Royalty Shares sold in this Offering will change our use of proceeds in any material way. Furthermore, there is no minimum amount of Royalty Shares that must be sold in this Offering, and therefore the Company will use the proceeds from this Offering to acquire a pro rata portion of the Income Interests pursuant to the Purchase Agreements that correspond to the series of Royalty Shares that are sold in this Offering even if substantially less than the maximum offering amount for any series of Royalty Shares is raised or if only a de minimis amount of Royalty Shares of any series is sold. For additional information, see “Management’s Discussion and Analysis of Financial Condition and Results of Operations—Liquidity and Capital Resources.”

Any proceeds raised by the Company in excess of the aggregate expenses described and accounted for in the table below will be used by the Company as working capital to fund our operations, including the provision of ongoing administrative services related to the Royalty Shares and any fees payable to the Delaware Trustee pursuant to the Trust Agreement. As a wholly owned subsidiary of the Manager, the Company may make periodic distributions of its working capital to the Manager at the Manager’s discretion, based on a comprehensive analysis of financial statements, profit projections, and regulatory requirements. Any such distributions will only be made to the Manager, and not any of its executive officers, directors or other persons. See the “Management’s Discussion and Analysis of Financial Condition and Results of Operations” and “Management Compensation” sections for more information.

This Offering is a “best-efforts” offering, which means we are only required to use our best efforts to sell our Royalty Shares offered in this Offering and there is no guarantee that any minimum amount of Royalty Shares will be sold.

 

Royalty Shares(1)

   Cash
Consideration for
Acquisition(3)(4)
     Organizational and
Offering Costs(5)(6)
     Net Proceeds  

JKBX HIT VOL1 00005 – JKBX HITS VOL1 00101 Royalty Shares(2)

   $ 43,029,722.32      $ 240,377.75      $ 4,805,449.93  
  

 

 

    

 

 

    

 

 

 

Total Proceeds

   $ 43,029,722.32      $ 240,377.75      $ 4,805,449.93  
  

 

 

    

 

 

    

 

 

 

 

(1)

The Coda Purchase Agreement was not negotiated at arm’s length.

(2)

The Company is offering to sell to investors each of the series of Royalty Shares set forth in the “Royalty Shares Offering Table” beginning on page 65 and has aggregated each Offering of a series of Royalty Shares for presentation of the aggregate use of proceeds of all such Offerings in this table. Please see the “Royalty Shares Offering Table” beginning on page 65 for the details of each series of Royalty Shares offered hereby, including the number of Royalty Shares offered of each series, the price per Royalty Share of each series, the maximum amount that may be raised by the offering of each series of Royalty Shares and the maximum cash consideration for acquisition for the Income Interests that correspond to each series of Royalty Shares.

(3)

The Company has entered into Purchase Agreements and Purchase Agreement Schedules to acquire Income Interests relating to certain Music Assets. Each of the Income Interests that may be acquired pursuant to the Purchase Agreements corresponds to a particular series of Royalty Shares. The Company will use the proceeds from this Offering to acquire only those Income Interests that correspond to the series of Royalty Shares that are sold in this Offering. For each Royalty Share sold, the Company shall acquire a pro rata portion of the corresponding Income Interests available for purchase.

  

The cash consideration for acquisition presented in this table is the maximum aggregate acquisition cost of all Income Interests available for purchase by the Company pursuant to Purchase Agreements at the time of qualification and assumes the maximum offering amount for all series of Royalty Shares offered hereby is raised by us. Please see series by series data presented in the “Royalty Shares Offering Table” beginning on page 65, which sets forth the maximum cash consideration for acquisition for the Income Interests that correspond to each series of Royalty Shares, and the “Composition and Recording Rights” table beginning on page 48, which describes the Music Assets that correspond to each series of Royalty Shares.

(4)

The Company does not pay any sourcing, acquisition or related fees to Jukebox Holding or any other entity for any activities related to sourcing Income Interests from Income Interest Owners. As described in the “Management’s Discussion and Analysis of Financial Condition and Results of Operations” and “Management Compensation” sections below, the Company will use its working capital to reimburse the Manager at cost for its overhead, employee costs, utilities or technology costs, as well as for any out-of-pocket expenses paid to third parties in connection with providing services to us, including the fixed fees paid by the Manager to Jukebox Holding under the Administrative Services Agreement between Jukebox Holding and the Manager.

(5)

The Company will reimburse the Manager for ordinary and necessary costs it incurs in connection with our organization and the offering of Royalty Shares (“O&O Costs”) up to a maximum of 0.50% of the aggregate gross offering proceeds from this Offering. We anticipate that reimbursement payments for O&O Costs will be made to the Manager in monthly installments. To the extent O&O Costs exceed the maximum amount reimbursable, the Manager shall bear such costs that exceed the portion reimbursable by us. The Manager may, at its sole discretion, decide to defer or waive any portion of the O&O Costs incurred. All or any portion of any deferred O&O Costs may be deferred without interest and payable when the Manager determines. See “Management Compensation—Compensation of Manager” for further information.

(6)

The O&O Costs presented in this table are the maximum aggregate O&O Costs that the Company will reimburse the Manager for assuming the maximum offering amount for all series of Royalty Shares offered hereby is raised by us. O&O Costs are generally related to our organization and the offering of Royalty Shares overall, and are not allocated or derived from any particular series of Royalty Shares. Therefore, we have presented aggregate O&O Costs for all series of Royalty Shares because allocation to individual series would not provide investors with meaningful additional information about such costs and how they relate to the use of proceeds raised in this Offering.

 

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DESCRIPTION OF BUSINESS

Overview

We were formed as a Delaware limited liability on April 3, 2023 to facilitate and manage investors’ economic exposure to the Royalty Rights. The Company will facilitate and manage investors’ economic exposure to the Royalty Rights by issuing contractual rights (known as Royalty Shares) to receive a specified portion of Income Interests we receive that relate to Royalty Rights for a specific Music Asset or compilation of Music Assets (as applicable) as set forth in the “Royalty Shares Offering Table” beginning on page 65 to investors in this Offering.

The Royalty Shares represent the contractual rights to receive a specified portion of Income Interests we receive that relate to Royalty Rights for a specific Music Asset or compilation of Music Assets (as applicable) set forth in the “Royalty Shares Offering Table”. The Company will enter into one or more Purchase Agreements with Income Interest Owners related to Music Assets. Royalty Shares will be issued in series, with each series corresponding to a portion of the Royalty Rights associated with a specified Music Asset or compilation of Music Assets (as applicable). Investors who acquire Royalty Shares from the Company will be entitled to receive Royalty Share Payments, a pro rata portion of the royalties, fees, and other income streams embodied in Income Interests we receive from the specified Royalty Rights that correspond to such Royalty Shares (less any fees and expenses as further described herein), calculated based on the number of Royalty Shares of a particular series that an investor holds compared to the total outstanding number of Royalty Shares of such series. Royalty Shares are unsecured limited obligations of the Company and do not confer any voting rights on the holders thereof. Purchasing Royalty Shares does not confer to the investor any ownership in the Company, the Trust, or the underlying music portfolio containing the Music Assets.

The Company operates pursuant to the Operating Agreement. Prior to the date of this Offering Circular, the Company has not conducted any operations and does not intend to conduct any business activities except for activities relating to facilitating investor economic exposure to, investment in, and maintenance of rights associated with the Royalty Shares. For a description of the Operating Agreement, see “Summary of Operating Agreement” below.

We engage with Income Interest Owners and may acquire Income Interests from such Income Interest Owners pursuant to one or more separately negotiated Purchase Agreements. The Company has entered into those certain Purchase Agreements described in “Description of the Music Assets Underlying the Royalty Shares.” Pursuant to the Purchase Agreements, the Income Interest Owners will sell their passive Income Interests (and not the copyright or distribution rights) in certain Music Assets to the Company, as well as, if available in certain cases, a right to use any artist materials in the Company’s marketing and promotions.

In order to fund the purchase of Royalty Rights, we are offering Royalty Shares in the Offering. We intend to use a portion of the proceeds from this Offering to acquire the Royalty Rights pursuant to the Purchase Agreements. The Purchase Agreement Schedule(s) will be in the name of the Company, as purchaser, and the capital raised in this Offering, as well as the Purchase Agreements and any rights associated therewith, will be our primary assets. Subject to any fees and expenses described herein, Royalty Share Holders will be the only persons with the right to receive economic exposure to the Royalty Rights provided for in the Purchase Agreements.

We expect to receive Income Interests and other cash flow pursuant to the Purchase Agreements and to make Royalty Share Payments to Holders from monies associated with Income Interests received pursuant to our Royalty Rights, following the deduction of fees and expenses by the Company. See “Description of Royalty Shares—Distributions” below.

The management of Royalty Shares will involve management of the Company’s relationship with Holders of Royalty Shares, as well as the oversight of compliance with the terms of the Purchase Agreements entered into by the Company and Income Interest Owners in order to ensure that the Company is receiving all payments to which it is owed pursuant to the terms of the applicable Purchase Agreement. We will monitor the Income Interests that are due on the Royalty Rights and will conduct Royalty Share Payments after such distributions are received in accordance with the procedure described in “Distribution Policy,” if applicable.

Pursuant to the Operating Agreement, the Manager will manage our day-to-day operations through the provision of administrative services, including overseeing matters relating to the Purchase Agreements. The Manager will also manage any extraordinary or non-routine services which may be required, from time-to-time, including, without limitation, litigation or other transactions involving the Company. The Company will reimburse the Manager for ordinary and necessary costs it incurs in connection with our organization and the offering of Royalty Shares and we also reimburse the Manager at cost for its overhead, employee costs, utilities or technology costs, as well as for any out-of-pocket expenses paid to third parties in connection with providing services to us. The Manager may, at its sole discretion, decide to defer or waive the reimbursement of any costs or expenses incurred on our behalf. See “Management Compensation” below.

 

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Market Opportunity

The music industry, due in part to the advent of streaming services, has grown exponentially in recent years. Last year, 2022, marked a 9% growth in revenue—the eighth consecutive year of growth. Streaming platforms such as Spotify, the largest streaming platform, also incorporate social networking elements, allowing listeners to real-time see what their friends are listening to, share what they are listening to, and collaborate on playlists. A 2022 report from the International Federation of the Phonographic Industry reported that on average, those who engage with music spend 20.1 hours each week listening to music. While 20.1 hours a week listening to music is likely far more time than an individual who invests in the traditional stock market spends engaging with the companies they invest in, there are still no transparent and accessible methods for listeners to participate, as an investment opportunity, in the music they listen to. The global music market forecasts for 2022 and 2023 are increasing by 7% and 5% respectively, while 2030 forecasts are increasing by 10%, as reported in Goldman Sachs, “Music in the Air,” Equity Research June 13, 2022 report.

In order to address the lack of opportunities to invest in assets related to the music industry, Jukebox Technology, a wholly owned subsidiary of Jukebox Holding, has developed the JKBX Platform, on which the Company, pursuant to a Platform Access Agreement, is able to host this Offering and to offer listeners the opportunity to take part in investment opportunities for their favorite artists’ songs and albums. The JKBX Platform provides its users with the ability to discover the Company’s Offering and to invest in series of Royalty Shares related to the sound recordings and compositions of their favorite artists and songwriters and receive any Royalty Share Payments related to those Music Assets. The JKBX Platform combines elements of a social network and music platform with the ability to invest in series of Royalty Shares.

The Music Catalog

A given Music Asset, such as a song, is generally comprised of two copyrights: (1) the musical composition copyright and (2) the sound recording copyright. Typically, there are multiple people or entities that own and control portions of both the musical composition copyright and the sound recording copyright, including recording artists, songwriters, publishers, record labels, and investment firms and/or funds, or others.

Each copyright in a given song generates separate and distinct revenue streams for the copyright owner. Just as with copyright ownership, multiple people and entities typically own and control the Income Interest, namely, the right to collect and receive the royalties, fees and other income streams related to or derived from a Music Asset. The royalties, fees, and other income streams embodied in an Income Interest are generated by various sources.

The royalties, fees, and other monies embodied in an Income Interest are generated by various sources. For example, on the composition side: (i) mechanical royalties are generated by the exploitation of a composition (a) on an on-demand streaming platform (like Spotify), (b) digital downloads and (c) physical sales; (ii) public performance royalties are generated by the exploitation of a composition (a) on a non-interactive streaming platform (like Pandora), (b) on an on-demand streaming platform, (c) radio, (d) live performances, (e) at restaurants, bars, and other venues and (f) on television or other television-like uses; (iii) print royalties are generated by the exploitation of a composition in: (a) physical print sheet music, (b) digital sheet music and (c) lyrics; (iv) synchronization fees are generated by the exploitation of a composition in connection with an audiovisual medium, like a television show, advertisement, video game, app, or film; and (v) social media monetization monies are generated by the exploitation of the composition on various social media platforms like YouTube, Instagram, and TikTok. On the recording side: (i) sales royalties are generated by the exploitation of a recording (a) on an on-demand streaming platform, (b) digital downloads and (c) physical sales; (ii) synchronization fees are generated by the exploitation of the recording in connection with an audiovisual, like a television show, advertisement, video game, app or film; (iii) digital performance royalties are generated by the exploitation of the recording on a non-interactive streaming platform, such as digital and satellite radio; (iv) neighboring rights are public performance royalties generated by exploitations of a recording (a) on the radio outside the United States, (b) at restaurants, bars, and other venues, and (c) on certain television or television-like uses; (v) social media monetization monies are generated by the exploitation of the recording on various social media platforms like YouTube, Instagram and TikTok; (vi) other income generated by a recording that doesn’t fit clearly into any of the above categories; and (vii) royalty participant royalties are generated by the exploitations of the recording listed in (i)-(v) above, but paid to third-parties related to the recording’s production such as producers, artists, and engineers.

As described further below, we will purchase Income Interests relating to certain Music Assets and accordingly will have the Royalty Right. The copyright owner retains the copyright in and to the songs and may separately retain a certain percentage of the Income Interest as well. Each series of Royalty Shares shall correspond to a certain portion of the Royalty Rights relating to a single Music Asset or a compilation of Music Assets (as applicable) and the Company shall distribute Royalty Share Payments to the Holders of the corresponding series of Royalty Shares as described under “Distribution Policy” and “Description of the Royalty Shares—Distributions.”

The Purchase Agreements and Royalty Rights

We engage with Income Interest Owners and may acquire Income Interests from such Income Interest Owners pursuant to one or more separately negotiated Purchase Agreements. In so doing, we provide investors in this Offering with the opportunity to invest in and receive Royalty Share Payments from the ongoing royalty and other income streams related to or derived from Music Assets associated with various artists and songwriters, including well-known or popular artists and

 

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songwriters, through the JKBX Platform. The Company has entered into the Purchase Agreements described in “Description of the Music Assets Underlying the Royalty Shares.” Pursuant to the Purchase Agreements, the Income Interest Owners will sell their passive Income Interests (and not the copyright, administration, or distribution rights) in certain compositions and/or recordings, as well as, if available in certain cases, a right to use any artist or writer materials in the Company’s marketing and promotions.

In some cases, the Company will review the entire catalog of an Income Interest Owner and identify with the Income Interest Owner the Income Interests that we will buy from the Income Interest Owner. The Income Interest Owner also provides us with key information related to the Music Assets such as, song titles, recording artists and songwriters for each associated song, song release year, chain of title history (if available), term, historical royalty data of Income Interest Owner’s total Income Interest embodied in the Music Asset, income sources included in the Music Assets (e.g., mechanical royalties, public performance royalties, synchronization fees, etc.), sound or music video recording unique identifier(s) as issued under the convention of the International Standard Musical Work Code (“ISWC”) or International Standard Recording Code (“ISRC”) (if available), recoupment and account statuses of the Music Assets (if available), the third-party music companies that currently exploit the songs and collect the income in relation to the Music Assets (if available), and the current accounting schedules for such Music Assets (if available). See “Description of the Music Assets Underlying the Royalty Shares—Composition and Recording Rights Table” and the “Composition and Recording Rights” table beginning on page 48.

We have entered into Purchase Agreements with certain Income Interest Owners, who are the owners of rights, title, interests, and other related intellectual property in certain Music Assets owned by such Income Interest Owners. Through the Purchase Agreement, the Income Interest Owners will sell Income Interests in certain Music Assets owned by such seller. During the term of a Purchase Agreement, an Income Interest Owner may, from time to time and on an ongoing basis, enter into multiple asset purchase transactions pursuant to such Purchase Agreement, which are to be negotiated in good faith by and between the Income Interest Owner and the Company. In connection with each asset purchase, the seller sells, assigns, and transfers the specified portion of their Income Interest in each specified Music Asset to the Company, as well as a right, if available in certain cases, to use any artist materials in the Company’s marketing and promotions. The Purchase Agreement is constructed so that the Company receives only the passive income interests in the song royalties, not the copyright, administration, or distribution rights. The prices for each asset sold are also negotiated in good faith and are individualized to each Purchase Agreement. This price negotiation includes the disclosure of the percent Income Interest the seller has in each recording and/or composition, and how much of such Income Interest they are willing to sell to the Company. In order to sell a portion or all of the Income Interest Owners’ Income Interests to the Company, the seller must assign such Income Interests in each song to the Company. See “Description of the Music Assets Underlying the Royalty Shares” for a description of each Purchase Agreement pursuant to which the Company may acquire Income Interests relating to Music Assets that correspond to each series of Royalty Shares offered hereby.

The term of each series of the Royalty Shares will be consistent with the term of the corresponding Royalty Rights of the underlying Purchase Agreements. Terms can be as long as the life of copyright. For more information on specific Royalty Shares, see “Description of the Music Assets Underlying the Royalty Shares.” Through the Purchase Agreement, the Income Interest Owners will sell to us certain Income Interests related to certain Music Assets owned by such Income Interest Owner. The Purchase Agreement shall continue for a specified term of years, as the case may be, by which the Income Interest Owner will, on an ongoing basis, enter into multiple asset purchase transactions in the form of schedules to each Purchase Agreement (each, a “Purchase Agreement Schedule”), which are to be negotiated in good faith by the Income Interest Owner and the Company. In connection with each Purchase Agreement, the Income Interest Owner sells, assigns, and transfers a portion or percentage of their Income Interests in each Music Asset to the Company, as well as, if available in certain cases, a right to use any artist or writer materials in the Company’s marketing and promotions. The Purchase Agreement and each respective Purchase Agreement Schedule are constructed so that the Company receives only passive Income Interests in Music Assets, but not the copyright, administration, or distribution rights. The prices for each Income Interest purchased by the Company in the form of Royalty Rights are also negotiated in good faith and are individualized to each Purchase Agreement Schedule. This price negotiation includes the disclosure of the Income Interests the Income Interest Owner has in each Music Asset, and how much of such Income Interest they are willing to sell to the Company. In order to sell a portion or all of the Income Interest Owner’s Income Interest to the Company, the Income Interest Owner must assign their Income Interests in the specifically negotiated for Music Asset to the Company.

Each Purchase Agreement provides the Company with the option to purchase any one or more of the Income Interests provided for in the Purchase Agreement Schedules. There is no minimum amount of Income Interests that must be purchased either as a proportion of all such Income Interests that have been made available pursuant to the Purchase Agreement or as it relates to other Income Interests for which the Company has an option to purchase in the Purchase Agreement. Independent of the terms of any specific Purchase Agreement(s), the Company will use its discretion in creating each series of Royalty Shares and the Income Interests associated therewith. In so doing, the Company may elect to issue series of Royalty Shares in this Offering that reflect economic exposure to Income Interests related to a single Music Asset (i.e., a song) or a compilation of Music Assets (i.e., an album). Each series of Royalty Shares and information about the Income Interests and related Music Asset(s) which comprise the series are described in the “Royalty Shares Offering Table” beginning on page 65.

As described in the “Description of the Trust Agreement” section below, we anticipate granting any Royalty Rights received pursuant to the Purchase Agreements and any Royalty Share Payments payable to Holders of Royalty Shares to a Trust to be held for the benefit of Royalty Share Holders, with the Company serving in separate and distinct capacities as grantor of the Trust and Management Trustee. As such, and subject to the terms of the Trust Agreement, we will not engage in the business of buying and selling any Royalty Rights acquired pursuant to this Offering and the Purchase Agreements related thereto. Any Royalty Rights received are intended to be held for the duration of the life of such rights in trust for the benefit of the holders of the related series of Royalty Shares, in order to ensure the payment of any corresponding Royalty Share Payments to such persons.

Summary of Operating Agreement

The Company will be governed by its Second Amended and Restated Limited Liability Company Agreement (the “Operating Agreement”). As of the date of this filing, all of the membership interests of the Company are held by the Manager in its own capacity. The following summarizes some of the key provisions of the Operating Agreement. This summary is qualified in its entirety by the Operating Agreement itself, a form of which is included as Exhibit 2.2 to the offering statement of which this Offering Circular forms an integral part.

Organization and Duration

We were formed on April 3, 2023 as a Delaware limited liability company pursuant to the Delaware LLC Act. We will remain in existence until liquidated in accordance with the terms of the Operating Agreement.

Purpose and Powers

Under the Operating Agreement, we are permitted to engage in such activities as determined by the Manager that lawfully may be conducted by a limited liability company organized under Delaware law and, in connection therewith, to exercise all of the rights and powers conferred upon us and the Manager pursuant to the agreement relating to such business activity.

Manager and its Powers

We are a limited liability company as set forth in Section 101 of the Delaware LLC Act. Pursuant to the Operating Agreement, the Manager will have complete and exclusive discretion in the management and control of the Company’s affairs and business, and shall possess all powers necessary, convenient or appropriate to carrying out the purposes and business of the Company, including doing all things and taking all actions necessary to carry out the terms and provisions of each of the foregoing agreements.

Pursuant to the Operating Agreement, the Manager shall have full authority in its discretion to exercise, in the name and on behalf of the Company, all rights and powers of a “manager” of a limited liability company under the Delaware LLC

 

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Act necessary or convenient to carry out our purposes. Any person not a party to the Operating Agreement dealing with the Company will be entitled to rely conclusively upon the power and authority of the Manager in all respects, and to authorize the execution of any and all agreements, instruments, and other writings on behalf and in the name of the Company.

Limited Liability

The liability of each member of our Company shall be limited as provided in the Delaware LLC Act and as set forth in the Operating Agreement. No member of our Company shall be obligated to restore by way of capital contribution or otherwise any deficits in its capital account (if such deficits occur).

The Delaware LLC Act provides that a member of a Delaware limited liability company who receives a distribution from such company and knew at the time of the distribution that the distribution was in violation of the Delaware LLC Act shall be liable to the Company for the distribution for three years. Under the Delaware LLC Act, a limited liability company may not make a distribution to a member if, after the distribution, all liabilities of the Company, would exceed the fair value of the assets of the Company. The fair value of property subject to liability for which recourse of creditors is limited shall be included in the assets of the Company only to the extent that the fair value of that property exceeds the nonrecourse liability. Under the Delaware LLC Act, an assignee who becomes a substituted member of a company is liable for the obligations of his assignor to make contributions to the Company, except the assignee is not obligated for liabilities unknown to him at the time the assignee became a member and that could not be ascertained from the Operating Agreement.

Indemnification of the Manager

The Operating Agreement provides that the Manager will not be liable to the Company or any interest Holders for any act or omission taken by them in connection with the business of the Company that has not been determined in a final, non-appealable decision of a court, arbitrator, or other tribunal of competent jurisdiction to constitute fraud, willful misconduct, or gross negligence.

Manager

The Operating Agreement designates the Manager as the managing member of the Company. The Manager is responsible for identifying Music Assets to be acquired using the proceeds from this Offering. See “Management” for additional information regarding the Manager.

Our day-to-day operations are managed by the Manager. The Manager performs its duties and responsibilities pursuant to the Operating Agreement. The Manager has the exclusive right to manage and operate the Company, subject to the powers of the Manager reserved under the Operating Agreement. Pursuant to the Operating Agreement, the Manager will pay, on behalf of the Company, all ordinary and necessary costs in connection with our organization and the offering of Royalty Shares qualified in this Offering (“O&O Costs”), including costs associated with the marketing and distribution of Royalty Shares, expenses for printing, EDGARizing and amending offering statements or supplementing offering circulars, mailing and distributing costs, telephones, internet and other telecommunications costs, all advertising and marketing expenses, charges of experts and fees, expenses and taxes related to the filing, registration and qualification of the sale of Royalty Shares under state securities laws, including taxes and fees and accountants’ and attorneys’ fees. Pursuant to the Operating Agreement, we also reimburse the Manager at cost for its overhead, employee costs, utilities or technology costs (“Manager Operational Costs”), as well as for any out-of-pocket expenses paid to third parties in connection with providing services to us, including the fixed fees paid by the Manager to Jukebox Holding under the Administrative Services Agreement between Jukebox Holding and the Manager (“Manager Out-of-Pocket Expenses”).

We will reimburse the Manager for all O&O Costs up to a maximum of 0.50% of the aggregate gross offering proceeds from this Offering. We anticipate that reimbursement payments for O&O Costs will be made to the Manager in monthly installments. To the extent O&O Costs exceed the maximum amount reimbursable, the Manager shall bear such costs that exceed the portion reimbursable by us. Pursuant to the Operating Agreement, the Manager may invoice us at cost for any Manager Operational Costs and Manager Out-of-Pocket Expenses attributable to services provided to the Company. Reimbursements for Manager Out-of-Pocket Expenses and Manager Operational Costs will be funded from our working capital, which will itself be derived from any proceeds raised in the Offering and Royalty Fees the Company earns for its ongoing service of the Royalty Shares. The Manager may, at its sole discretion, decide to defer or waive the reimbursement of any costs or expenses incurred on our behalf. All or any portion of any deferred costs or expenses may be deferred without interest and payable when the Manager determines.

 

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Given its involvement in the offer and sale of Royalty Shares in connection with the Company’s Offering, the Manager is deemed to be a statutory underwriter solely for purposes of Section 2(a)(11) of the Securities Act. A statutory underwriter is subject to the prospectus delivery and liability provisions of the Securities Act, and Regulation M. The Manager is acting in its capacity as an associated person of the Company in relation to the Offering pursuant to Exchange Act Rule 3a4-1 and is not registered or required to be registered as a broker-dealer with the SEC and the Financial Industry Regulatory Authority (FINRA).

Industry Expertise

We believe that our access to the Income Interests of Income Interest Holders described in this Offering Circular and contemplated in the Purchase Agreements, many of which relate to the original musical works of some of the world’s most well-known artists, creators and musicians, provides investors in each of the series of Royalty Shares with a unique investment opportunity. To provide investors with these opportunities in the first instance, we benefit from the expertise of our sponsor, Jukebox Holding, and its ability to identify and source, and to help us secure access to, Income Interests in a manner that individual investors are unlikely to be able to achieve on their own. Scott Cohen, the Chief Executive Officer of Jukebox Holding, has extensive experience working in the music industry, including serving as the manager of the band, Scrub; co-founding the record label, The Orchard, in 1997 with songwriter Richard Gottehrer, where he held the role of Founder until January 2019; and serving as the Chief Innovation Officer at Warner Music Group from February 2019 to October 2022. Mr. Cohen’s career, experience, and relationships in the music industry has provided and will likely continue to provide Jukebox Holding and its affiliates with opportunities to originate access to Income Interests from Income Interest Holders that, to the Company’s knowledge, have generally been unavailable to individual investors. In addition, the Manager’s executives, Sam Thacker and Wendell Younkins, have years of experience in business, including music and related industries, running the operations and finances of numerous companies. See “Management” section below. In addition to their roles with the Manager, Messrs. Thacker and Younkins continue to serve as executives at Jukebox Holding. We believe that our relationship with the Manager and its executives, as well as with Jukebox Holding and its executives, has provided and will continue to provide the Company with unique opportunities and access to Income Interests.

Jukebox Holding’s role as it relates to this Offering (as opposed to its activities in relation to the JKBX Platform or in identifying and sourcing any Income Interests which may be implicated in this Offering), as well as the role of the Manager, is limited to the provision of ministerial services as an associated person of the Company for purposes of Exchange Act Rule 3a4-1.

Employees

The Company does not currently have any employees, nor do we currently intend to hire any employees who will be compensated directly by the Company. The executive officers of the Manager manage our day-to-day affairs and oversee and service our assets pursuant to the terms of the Operating Agreement.

Legal Proceedings

Neither the Company nor the Manager is presently subject to any material legal proceedings.

Trust

The Company will convey, or cause to be conveyed, any Royalty Rights it receives pursuant to the Purchase Agreements and any Royalty Share Payments payable to Holders of Royalty Shares to a newly formed statutory trust established under Delaware state law (the “Trust”), which will hold the Royalty Rights. The Trust will be created to acquire and hold Royalty Rights and, when available, Royalty Share Payments, pending distribution to Holders of Royalty Shares, for the benefit of the Holders of Royalty Shares pursuant to a trust agreement (“Trust Agreement”) among the Company, in its separate and distinct capacities as grantor of the Trust and Management Trustee, and Delaware Trust Company, in its capacity as Delaware Trustee. For additional information, see “Description of the Trust Agreement.”

No Other Operations

Upon successful closing of this Offering, the Company will own Royalty Rights, serve as the sponsor and Management Trustee of the Trust, and administer and manage the Royalty Shares. The Company will not have any other operations.

 

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MANAGEMENT’S DISCUSSION AND ANALYSIS OF

FINANCIAL CONDITION AND RESULTS OF OPERATIONS

Overview

We were formed as a Delaware limited liability company on April 3, 2023 to facilitate and manage investors’ economic exposure to the Royalty Rights. The Company will facilitate and manage investor interests in the Royalty Rights by issuing Royalty Shares, to investors in this Offering.

The Royalty Shares represent the contractual right to receive a specified portion of any Income Interests we receive that relate to Royalty Rights for the specific Music Assets set forth in the “Royalty Shares Offering Table” beginning on page 65. The Company will enter into one or more Purchase Agreements with Income Interest Owners related to Music Assets. Royalty Shares will be issued in series, with each series corresponding to a portion of the Royalty Rights derived from Income Interests associated with specified Music Assets. Investors who acquire Royalty Shares from the Company will be entitled to receive Royalty Share Payments, calculated based on the number of Royalty Shares of a particular series that an investor holds compared to the total outstanding number of Royalty Shares of such series. Royalty Shares are unsecured limited obligations of the Company and do not confer any voting rights on the holders thereof. Purchasing Royalty Shares does not confer to the investor any ownership in the Company, the Trust, or the underlying music portfolio containing the Music Assets.

Prior to the date of this Offering Circular, we have not conducted any operations and do not intend to conduct any business activities except for activities relating to facilitating investor economic exposure to, investment in, and maintenance of rights associated with the Royalty Shares.

We have not yet commenced our planned principal business operations and have no (or nominal) assets or liabilities at this time, and do not plan for or expect this Offering to be qualified before the Company is capitalized on other than a nominal basis. Accordingly, we have not presented financial statements in this Offering Circular, though we have described below certain critical accounting policies that we intend to adopt. We plan to engage an independent auditor to audit our financial statements after the qualification of this Offering by the SEC. Following qualification of this Offering, we will include audited financial statements in our annual reports with the SEC on Form 1-K and, where appropriate, in any post-qualification amendments to the offering statement of which this Offering Circular is a part, containing required financial statements, presented in accordance with GAAP, including a balance sheet and statements of operations, company equity and cash flows, with such statements having been audited by an accountant selected by the Company.

The Company is managed by its sole member, Double Platinum Management LLC, also referred to herein as the Manager. The Manager is a single-member Delaware limited liability company, wholly owned by Jukebox Holding. Subject to the limitations in our Operating Agreement, the Manager has the authority to make all the decisions regarding our facilitation and management of investors’ economic exposure to our Royalty Rights, and will assist the Company in providing asset management, marketing, investor relations and other administrative services on our behalf. We are not aware of any trends, uncertainties, demands, commitments, or events that will materially affect our operations or the liquidity or capital resources of the Manager.

Critical Accounting Policies and Estimates

The preparation of our financial statements in accordance with generally accepted accounting principles will be based on the selection and application of accounting policies that require us to make significant estimates and assumptions about the effects of matters that are inherently uncertain. We believe that the accounting policies discussed below will be critical to the understanding of our financial statements, when required to be filed. Actual results could differ from our estimates and assumptions, and any such differences could be material to our financial statements.

Investment in Purchase Agreements

Pursuant to the Purchase Agreements, the Company shall have the exclusive worldwide right in perpetuity to use, exploit, or otherwise dispose of certain applicable Royalty Rights in all methods, manner and media, now known or hereafter developed. The Company shall also irrevocably and perpetually purchase from Income Interest Owners a percentage of Income Interest Owners’ Income Interest payable or becoming payable in respect of the applicable Music Assets (i.e., the Royalty Rights). Such Income Interest includes the Income Interest Owner’s worldwide right, title, interest, and control in and to the applicable Royalty Rights, but does not include any copyrights or administration and/or distribution rights in and to the applicable Music Assets.

 

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Upon the effectiveness of the Purchase Agreement (or such other date as mutually agreed to by the relevant parties), the Company shall have (a) the unrestricted right to collect, receive, and retain one hundred percent (100%) of the income associated with the Royalty Rights purchased of each applicable Music Asset under such Purchase Agreement which would be payable to the selling Income Interest Owner previous to the effectiveness of such Purchase Agreement, regardless of when earned, and the right to exercise or cause the selling Income Interest Owner to exercise all audit rights of the Income Interest Owner pursuant to any publishing, administration, distribution, recording, PRO (Performing Rights Organizations) agreements, or any agreements relating to the exploitation or use of the applicable Music Asset; (b) the right to all income associated with the Royalty Rights held in third party accounts that would otherwise be payable to the Income Interest Owner previous to the effectiveness of such Purchase Agreement, on or after such each effective date due to unidentified payees, royalties on legal hold, and other accounts directly relating to the applicable Music Assets, and (c) the right to all of the selling Income Interest Owner’s rights under warranties, indemnities, and all similar rights against third parties to the extent related to any of the applicable Royalty Rights.

Use of Estimates

In preparing our financial statements pursuant to the Operating Agreement, the Manager will be required to make estimates and assumptions that affect the reported amounts, particularly with respect to investments, at the date of the financial statements. Actual amounts may differ materially from these estimates.

Contingencies

We may be subject to lawsuits, investigations and claims (some of which may involve substantial dollar amounts) that can arise out of our normal business operations. We would continually assess the likelihood of any adverse judgments or outcomes to our contingencies, as well as potential amounts or ranges of probable losses, and recognize a liability, if any, for these contingencies based on a thorough analysis of each matter with the assistance of outside legal counsel and, if applicable, other experts. Because most contingencies are resolved over long periods of time, liabilities may change in the future due to new developments (including new discovery of facts, changes in legislation and outcomes of similar cases through the judicial system), changes in assumptions or changes in our settlement strategy.

Income Taxes

The Royalty Share arrangement is intended to represent an undivided beneficial interest in a Royalty Right derived from a specified Music Asset and taxed as an investment trust for U.S. federal income tax purposes, and not as a partnership, an association, or a publicly traded partnership subject to tax as a corporation. See “Material U.S. Federal Income Tax Considerations.”

Liquidity and Capital Resources

We are dependent upon the net proceeds raised in this ongoing Offering and any Royalty Fees the Company is paid for its ongoing administrative services related to each series of Royalty Shares to fund our proposed ongoing operations. We will obtain the capital required to complete the purchase of Royalty Rights related to the issuance of Royalty Shares and provide ongoing administrative services related thereto from the proceeds of the ongoing Offering. We will further fund our ongoing operations from any Royalty Fees we deduct from gross Income Interest proceeds before Royalty Share Payments are made to the Holders of the corresponding series of Royalty Shares. For information regarding the anticipated use of proceeds from this offering, see “Estimated Use of Proceeds” and, for Royalty Fees, see “Description of Royalty Shares.”

Pursuant to the Operating Agreement, the Manager will pay, on behalf of the Company, all ordinary and necessary costs in connection with our organization and the offering of Royalty Shares qualified in this Offering (“O&O Costs”), including costs associated with the marketing and distribution of Royalty Shares, expenses for printing, EDGARizing and amending offering statements or supplementing offering circulars, mailing and distributing costs, telephones, internet and other telecommunications costs, all advertising and marketing expenses, charges of experts and fees, expenses and taxes related to the filing, registration and qualification of the sale of Royalty Shares under state securities laws, including taxes and fees and accountants’ and attorneys’ fees. Pursuant to the Operating Agreement, we also reimburse the Manager at cost for its overhead, employee costs, utilities or technology costs (“Manager Operational Costs”), as well as for any out-of-pocket expenses paid to third parties in connection with providing services to us, including the fixed fees paid by the Manager to Jukebox Holding under the Administrative Services Agreement between Jukebox Holding and the Manager (“Manager Out-of-Pocket Expenses”).

We will reimburse the Manager for all O&O Costs up to a maximum of 0.50% of the aggregate gross offering proceeds from this Offering. We anticipate that reimbursement payments for O&O Costs will be made to the Manager monthly installments. To the extent O&O Costs exceed the maximum amount reimbursable, the Manager shall bear such costs that exceed the portion reimbursable by us.

Pursuant to the Operating Agreement, the Manager may invoice us at cost for any Manager Operational Costs and Manager Out-of-Pocket Expenses attributable to services provided to the Company. Reimbursements for Manager Out-of-Pocket Expenses and Manager Operational Costs will be funded from our working capital, which will itself be derived from any proceeds raised in the Offering and Royalty Fees the Company earns for its ongoing service of the Royalty Shares. The Manager may, at its sole discretion, decide to defer or waive the reimbursement of any costs or expenses incurred on our behalf. All or any portion of any deferred costs or expenses may be deferred without interest and payable when the Manager determines.

The Manager may, from time to time, incur costs outside the scope of its management of the Company pursuant to the Operating Agreement. The Manager uses its discretion only to attribute costs to the Company that are specific to the O&O Costs, Manager Out-of-Pocket Expenses, and Manager Operational Costs.

Jukebox Holding, our sponsor and parent of the Manager, has adopted a periodic dividend distribution policy pursuant to which it has the discretion to cause periodic distributions of excess working capital at the subsidiary level, including distributions by the Company to be made to the Manager, based on a comprehensive analysis of the subsidiary’s financial statements, profit projections, and regulatory requirements (“Corporate Distribution Policy”). Pursuant to the Corporate Distribution Policy, which may be amended from time to time, subsidiaries shall calculate any amounts available for dividend distribution by considering metrics including, but not limited to, the subsidiaries retained earnings, financial performance, future growth prospects, and cash flow requirements for operational and investment activities and, using this information, to determine in good faith whether a dividend distribution can made.

Other than the reimbursements for O&O Costs, Manager Out-of-Pocket Expenses and Manager Operational Costs and periodic distributions of capital under the Distributions Policy, we do not anticipate any other material capital commitments.

We do not anticipate that we will routinely maintain material liquid assets in excess of our capital commitments. Where, however, our Manager exercises its discretion to waive fees otherwise reimbursable to it pursuant to the Operating Agreement or does not exercise its discretion to distribute our excess working capital pursuant to the Corporate Distribution Policy, we may have working capital significantly in excess of our capital commitments.

If, however, we are unable to raise substantial gross offering proceeds, we will issue fewer Royalty Shares in the Offering and make fewer purchases of Royalty Rights. Given anticipated ongoing costs associated with servicing the series of Royalty Shares on an ongoing basis, we believe that issuing fewer Royalty Shares may result in higher fixed operating expenses as a proportion of our gross income. If, after purchasing the Royalty Rights and reimbursing the Manager for its O&O Costs, we do not have sufficient working capital to fund our ongoing operations, we anticipate being able to seek additional capital from the Manager and/or Jukebox Holding or that the Manager may use its discretion to waive or delay any fees reimbursable to it until such time as we may have sufficient capital to fund our operations and, if applicable, any required reimbursements. There is no guarantee that any request for additional capital from the Manager and/or Jukebox Holding will be agreed to by either party.

 

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For information regarding the anticipated use of proceeds from this offering and compensation to be paid to the Manager, see “Estimated Use of Proceeds” and “Management Compensation,” respectively.

Plan of Operations

The Company plans to fund its proposed ongoing operation from the net proceeds raised in this ongoing Offering and any Royalty Fees we deduct from gross Income Interest proceeds before Royalty Share Payments are made to the Holders of the corresponding series of Royalty Shares. Further, depending on the amount of capital raised in this Offering and our ability to raise additional capital pursuant to Rule 251(a) of Regulation A, the Company may enter into additional Purchase Agreements and Purchase Agreement Schedules in the next twelve months to fund and secure additional Royalty Rights and issue additional Royalty Shares (including through post-qualification amendments to this Offering Statement), while retaining net offering proceeds in excess of offering-related costs and earning attendant ongoing Royalty Fees sufficient to fund our ongoing operating expenses. In order to fund the acquisition of such Royalty Rights and any expected costs and expenses, the Company intends to raise capital through the issuance and sale of additional Royalty Shares related to such additional Royalty Rights in a manner that is generally consistent with the terms of this Offering.

As the Company is newly formed and has yet to commence operations, it is difficult to precisely forecast the Company’s expected operational costs for the initial twelve months following commencement of the Offering. Given that the Company has no employees and minimal overhead costs of its own, as backstopped by the services of the Manager provided to the Company pursuant to the Operating Agreement, we believe that we will receive sufficient funding from a combination of net offering proceeds and from Royalty Fees to satisfy any cash requirements for the twelve month period following commencement of the Offering to implement our business plans.

If our assumptions regarding our plan of operations prove to be incorrect and we need additional capital resources to fund operations, we anticipate being able to seek additional capital from the Manager and/or Jukebox Holding or that the Manager use its discretion to waive or delay any fees reimbursable to it or distributions of working capital until such time as we may have sufficient capital to fund our operations. There is no guarantee that any request for additional capital from the Manager and/or Jukebox Holding will be agreed to by either party.

Trend Information

We are not aware of any trends, uncertainties, demands, commitments, or events that will materially affect our operations, liquidity, or capital resources.

Revenue Recognition

The Company does not charge fees or commissions for or recognize revenue in relation to the Offering of Royalty Shares. Royalty Fee revenue for ongoing administrative services related to the Royalty Shares will be recognized over time as such fees are deducted from the gross royalties received in respect of the Royalty Rights. Revenue will be recorded at the amounts the Company expects to receive.

 

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MANAGEMENT

Manager

The Company operates under the direction of the Manager, which is responsible for directing the operations of the Company’s business and day-to-day affairs and implementing the Company’s operational strategy. The Manager, acting in its capacity as sole member (owner) and manager of the Company, has an established leadership team that will make decisions with respect to all asset acquisitions by the Company. The Manager will pay organizational, offering, and related costs on our behalf that we plan to reimburse through any proceeds raised in the Offering. See “Estimated Use of Proceeds” and “Management Compensation” for further details.

The Company will follow guidelines and implement policies as set forth in the Operating Agreement unless otherwise modified by the Manager. The Company may establish further written policies and will monitor its administrative procedures, investment operations and performance to ensure that the policies are fulfilled. The Company may change its objectives at any time without approval of Holders. The Company has no track record and is relying on the experience of the Manager and its individual executives and, where applicable, Jukebox Holding, which assists the Manager with its business and management operations, including relating to accounting, financial planning, regulatory compliance and filings and administrative regulatory services, as needed, pursuant to an Administrative Services Agreement (attached as Exhibit 6.4).

Responsibilities of the Manager

The Manager may provide services directly to the Company or indirectly by engaging third-party service providers pursuant to the Operating Agreement. The responsibilities of the Manager include:

 

   

Perform the various administrative functions necessary for the Company’s day-to-day operations;

 

   

Provide financial and operational planning services and collection management functions;

 

   

Obtain and update market research and economic and statistical data in the music assets and related industry;

 

   

Oversee tax and compliance services and risk management services and coordinate with appropriate third parties, including independent accountants and other consultants, on related tax matters;

 

   

Supervise the performance of such ministerial and administrative functions as may be necessary in connection with the Company’s day-to-day operations;

 

   

Provide all necessary cash management services;

 

   

Manage and coordinate with the transfer agent, custodian or broker-dealer, if any, the process of making distributions and payments to Holders or the transfer or re-sale of securities as may be permitted by law;

 

   

Evaluate and obtain adequate insurance coverage for the Company and the music assets based upon risk management determinations;

 

   

Track the overall regulatory environment affecting the Company, as well as managing compliance with regulatory matters;

 

   

Evaluate the Company’s corporate governance structure and appropriate policies and procedures related thereto;

 

   

Oversee all reporting, record keeping, internal controls and similar matters in a manner to allow us to comply with applicable law; and

 

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Royalty Share-Related Services:

 

   

Assist the Company to:

 

   

Oversee the review, selection and recommendation of Income Interest Acquisition opportunities;

 

   

Meet its obligations related to any Purchase Agreement(s) entered into with Income Interest Owners, series of Royalty Shares, including the compilation of legal- and offering-related materials and the facilitation and oversight of obligations to Holders of Royalty Shares, and its obligations under the Trust Agreement;

 

   

Engage with any third-party service providers as necessary for the Offering of Royalty Shares, including, without limitation, SEC printing service providers, marketing specialists, and related service providers, and legal, tax, and accounting experts;

 

   

Maintain accounting data and any other information required to prepare and to file all periodic and ongoing reports required to be filed with the SEC and any other regulatory agency, including annual and semi-annual financial statements;

 

   

Maintain all appropriate books and records for the Company and all the series of Royalty Shares, and

 

   

Other similar and incidental activities as may be required to fulfill or provide any of the above services or as otherwise requested by the Company from time to time. The Manager does not provide any services to the Company pursuant to any other agreement or arrangement.

Executive Officers of the Manager

As of the date of this Offering Circular, the executive officers of the Manager and their positions and offices are as follows:

 

Name

   Age    Position    Term of Office
(Beginning)

Sam Thacker

   40    President    May 2023

Wendell Younkins

   57    Chief Financial Officer    May 2023

 

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Background of Executive Officers of the Manager

The following is a brief summary of the background of each executive officer of the Manager.

Sam Thacker, President

Sam Thacker has over two decades of experience building, growing, and scaling businesses – from startups at the intersection of entertainment and technology to Fortune 500 giants. In addition to his role as President of the Manager, Mr. Thacker joined Jukebox Holding in 2022 and currently serves as its Chief Operating Officer. Prior to joining Jukebox Holding, he worked alongside founders and leadership teams at multiple startups to accelerate profitable growth at critical stages in their lifecycles. Notable roles included serving as Chief of Staff, Commercial at Pollen (2021-2022), VP of Strategy & Operations at Topeka (2020-2021), and Sr. Manager of Business Operations at Weedmaps (2019-2021). Before that, he spent five years (2014-2019) at McKinsey & Company advising some of the world’s largest companies on an array of strategic and operational topics.

Mr. Thacker holds an MBA from the Tuck School of Business at Dartmouth and a BA in English & Philosophy from Emory University.

He also spent eight years as an independent singer-songwriter, recording and releasing two independent albums and touring throughout the United States.

Wendell Younkins, Chief Financial Officer

Wendell Younkins currently serves as the Chief Financial Officer of the Manager. In addition to this role, Mr. Younkins also currently serves as the Chief Financial Officer of Jukebox Holding, a role he assumed in March 2023. Mr. Younkins is responsible for the financial operations of the Manager and Jukebox Holding, including financial planning and budgeting, treasury, accounting and tax. He joined the Manager and Jukebox Holding after serving as the Chief Accounting Officer for VideoAmp, Inc. (2021-2023), where he was responsible for controllership, Sarbanes-Oxley, tax, treasury operations and initial public offering (IPO) readiness. Previously, Mr. Younkins held various finance and accounting roles during his 22-year tenure at NBC Universal, including Senior Vice President and Global Controller for the Global Distribution group (2015-2021), where he was responsible for the accounting, controllership and financial reporting activities for the division which generates $6 billion of content licensing revenues, Chief Financial Officer of International Studios for Universal Pictures (2002-2007), a new division formed to capitalize on the burgeoning growth in the international market, and Chief Financial Officer and Integration Leader for Geneon Universal Entertainment (2009-2010), a division of Universal Pictures International Entertainment, and Vice President of Financial Reporting (2010-2015), where he was tasked with creating the financial reporting infrastructure to produce SEC quality financial statements and schedules.

Prior to joining Universal, Mr. Younkins held several accounting and auditing roles with various companies, including Riddell Inc. and Crowe Chizek & Co.

He holds a BS degree in Accounting and Finance from DePaul University and is a graduate of GE’s Experienced Finance Leadership Program. Mr. Younkins is very active in his community and fraternity, Kappa Alpha Psi Fraternity Inc., and lives in Los Angeles with his wife.

 

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MANAGEMENT COMPENSATION

The Manager is the sole member and manager of the Company and any services it provides to the Company are in its capacity as such. The Manager may be reimbursed for various costs incurred on our behalf and/or for services provided to us as described in the Company’s Operating Agreement, attached as Exhibit 2.2 to the Offering Statement. Neither the Manager nor its affiliates receive any selling commissions or dealer manager fees in connection with the offer and sale of our common shares.

Compensation of Manager

We do not currently have any employees, nor do we currently intend to hire any employees who will be compensated directly by the Company. The Manager manages our day-to-day affairs, oversees the review, selection, and recommendation of Income Interest acquisition opportunities, helps manage the Royalty Rights, monitors the performance of the Royalty Rights, and, as an associated person of the Company, provides the Company with ministerial services related to the Offering. The Manager does not charge us directly for any services provided to the Company by its executive officers. Each of the Manager’s executive officers are compensated by the Manager directly, and not the Company. Although we may indirectly bear some of the costs of the compensation paid to these individuals through any reimbursement payments we make to the Manager, we do not intend to pay any compensation directly to these individuals.

Pursuant to the Operating Agreement, the Manager will pay, on behalf of the Company, all ordinary and necessary costs in connection with our organization and the offering of Royalty Shares qualified in this Offering (“O&O Costs”), including costs associated with the marketing and distribution of Royalty Shares, expenses for printing, EDGARizing and amending offering statements or supplementing offering circulars, mailing and distributing costs, telephones, internet and other telecommunications costs, all advertising and marketing expenses, charges of experts and fees, expenses and taxes related to the filing, registration and qualification of the sale of Royalty Shares under state securities laws, including taxes and fees and accountants’ and attorneys’ fees. Pursuant to the Operating Agreement, we also reimburse the Manager at cost for its overhead, employee costs, utilities or technology costs (“Manager Operational Costs”), as well as for any out-of-pocket expenses paid to third parties in connection with providing services to us, including the fixed fees paid by the Manager to Jukebox Holding under the Administrative Services Agreement between Jukebox Holding and the Manager (“Manager Out-of-Pocket Expenses”).

We will reimburse the Manager for all O&O Costs up to a maximum of 0.50% of the aggregate gross offering proceeds from this Offering. We anticipate that reimbursement payments for O&O Costs will be made to the Manager in monthly installments. To the extent O&O Costs exceed the maximum amount reimbursable, the Manager shall bear such costs that exceed the portion reimbursable by us. Pursuant to the Operating Agreement, the Manager may invoice us at cost for any Manager Operational Costs and Manager Out-of-Pocket Expenses attributable to services provided to the Company. Reimbursements for Manager Out-of-Pocket Expenses and Manager Operational Costs will be funded from our working capital, which will itself be derived from any proceeds raised in the Offering and Royalty Fees the Company earns for its ongoing service of the Royalty Shares. The Manager may, at its sole discretion, decide to defer or waive the reimbursement of any costs or expenses incurred on our behalf. All or any portion of any deferred costs or expenses may be deferred without interest and payable when the Manager determines.

The Manager may, from time to time, incur costs outside the scope of its management of the Company pursuant to the Operating Agreement. The Manager uses its discretion only to attribute costs to the Company that are specific to the O&O Costs, Manager Out-of-Pocket Expenses, and Manager Operational Costs. We anticipate the total costs and expenses incurred by the Manager on our behalf at the time of qualification to be approximately $300,000. The Manager may, at its sole discretion, decide to defer or waive any costs or expenses incurred on our behalf.

As of the date of this filing, no compensation has been paid to the Manager.

Please see additional discussion of the management of the Company in “Description of Business” and “Management.”

 

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SECURITY OWNERSHIP OF

MANAGEMENT AND CERTAIN SECURITYHOLDERS

As of the date of this filing, 100% of the beneficial ownership of the Company’s membership interests is held by the Manager and 100% of the beneficial ownership of the Manager’s membership interests is held by Jukebox Holding.

The following table sets forth the beneficial ownership of our membership interests as of the date of this offering circular for each person or group that holds more than 10% of our membership interests, for each officer of the Manager and for the officers of the Manager as a group. To our knowledge, each person that beneficially owns our membership interests has sole voting and disposition power with regard to such shares.

Unless otherwise noted below, the address for each beneficial owner listed on the table is in care of the Company’s principal executive offices at 10000 Washington Blvd., Suite 07-134, Culver City, CA 90232. We have determined beneficial ownership in accordance with the rules of the SEC. We believe, based on the information furnished to us, that the persons and entities named in the tables below have sole voting and investment power with respect to the Company’s membership interests that they beneficially own, subject to applicable community property laws.

 

Title of Class

  

Name of beneficial owner(1)

   Amount and nature of
beneficial ownership
     Percent of class  

Membership Interests in Jukebox Hits Vol. 1 LLC

  

Jukebox Co. (2)(3)

     100% beneficial ownership        100

Membership Interests in Jukebox Hits Vol. 1 LLC

  

Sam Thacker, President(4)

     0        0

Membership Interests in Jukebox Hits Vol. 1 LLC

  

Wendell Younkins, CFO(5)

     0        0

Membership Interests in Jukebox Hits Vol. 1 LCC

  

Officers of the Manager as a group (2 persons)(6)

     0        0

 

(1)

Under SEC rules, a person is deemed to be a “beneficial owner” of a security if that person has or shares voting and/or dispositive power over such security. A person also is deemed to be a beneficial owner of any securities which that person has a right to acquire within 60 days. Under these rules, more than one person may be deemed to be a beneficial owner of the same securities and a person may be deemed to be a beneficial owner of securities as to which he or she has no economic or pecuniary interest.

(2)

Jukebox Co. owns all of the membership interests of the Manager, Double Platinum Management LLC, which, in turn, is the sole owner of all of the Company’s membership interests.

(3)

All voting and investment decisions with respect to our membership interests that are held by Jukebox Co. are controlled by the board of directors of Jukebox Co. The board is comprised of 4 members. As of the date of this offering circular, the members of the board of directors of Jukebox Co. are Samuel Hendel, John Chapman, Scott Cohen (who is also the Chief Executive Officer of Jukebox Co.), and Greg Rosenthal.

(4)

Mr. Thacker is also the Chief Operating Officer of Jukebox Co.

(5)

Mr. Younkins is also the Chief Financial Officer of Jukebox Co.

(6)

The Manager does not have directors.

 

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DESCRIPTION OF THE TRUST AGREEMENT

The following information summarizes the material information that will be contained in the Trust Agreement. For more detailed provisions concerning the Trust, you should read the Trust Agreement, which is filed as Exhibit 3.2 to the offering statement.

Creation and Organization of the Trust

The Trust will be created as a “statutory trust” under Delaware law in accordance with Chapter 38 of Title 12 of the Delaware Code, and an “investment trust” as defined by the United States Internal Revenue Code of 1986, by and among the Company, in its separate and distinct capacities as grantor of the Trust and management trustee (the “Management Trustee”), and Delaware Trust Company, in its capacity as Delaware trustee (the “Delaware Trustee” and, together with the Management Trustee, the “Trustees”), to acquire and hold the Royalty Rights and Royalty Share Payments, pending distribution to Holders of Royalty Shares, for the benefit of Holders of Royalty Shares. Royalty Share Holders will not be a party to the Trust Agreement, instead the Royalty Rights and Royalty Share Payments, pending distribution to Holders of Royalty Shares, will be held by the Trust for their stated benefit, as beneficiaries. Pursuant to the Trust Agreement, the Company will convey, or cause to be conveyed, any Royalty Rights it receives pursuant to the Purchase Agreements and any Royalty Share Payments payable to Holders of Royalty Shares to the Trust. The Royalty Rights are passive in nature and neither the Trust nor the Company, in its capacity as trustee, will have any control over or responsibility for costs relating to the Royalty Rights. For more information about the Music Assets underlying the Royalty Shares, see “Description of the Music Assets Underlying the Royalty Shares.”

The Trust Agreement will provide that the Trust’s purpose is to engage in the following activities: (i) to take title to the property of the Trust for the sole purpose of protecting, maintaining, preserving and conserving said property for the Holders, as beneficiaries of the Trust, (ii) to perform such other activities incidental thereto, including to facilitate a Holder’s receipt of Royalty Share Payments, (iii) to comply with the Trust Agreement and Royalty Share Agreements and (iv) to take such other actions as the Trustees deem necessary or advisable to carry out the foregoing.

Upon completion of this Offering, the assets of the trust will consist of the Royalty Rights and, when available, Royalty Share Payments, pending distribution to Holders of Royalty Shares.

Duties and Powers of the Trustees

The duties of the Trustees will be specified in the Trust Agreement and by the laws of the State of Delaware, except as modified by the Trust Agreement.

The Management Trustee shall make all decisions affecting the Trust, except as otherwise provided in the Trust Agreement, and shall cause the Trust to distribute Royalty Share Payments to Holders in accordance with the terms and conditions of the applicable Holder’s Royalty Share Agreement. In addition, the Management Trustee’s powers in the administration of the Trust shall include:

 

   

holding trust property for the sole purpose of conserving, maintaining, preserving, and protecting such property for the beneficiaries without any duty to market, advertise, or improve trust property;

 

   

taking any action required or permitted to be taken under the Trust Agreement and Royalty Share Agreements;

 

   

causing to sell, mortgage, pledge, hypothecate, convey and otherwise dispose of the trust property at such time and upon the terms and conditions as the Management Trustee deems advisable;

 

   

taking any action deemed advisable for the protection, maintenance, preservation and conservation of the property of the Trust so long as such action is authorized by applicable law.

The Management Trustee may act independently of the Delaware Trustee and has the authority to perform all powers actions that are authorized under the Trust Agreement.

The Delaware Trustee shall have no obligation or duty to manage the property of the Trust and, except as required by applicable law, its duties are generally limited to :

 

   

serving as a registered agent for service of process for the Trust,

 

   

serving as the Delaware resident trustee,

 

   

performing all other requirements so that the Trust qualifies as a Delaware statutory trust.

Pursuant to the Trust Agreement, the Management Trustee may amend the Trust Agreement so long as any such amendment shall not materially and adversely affect the rights of a beneficiary thereunder.

Fiduciary Responsibility and Liability of the Trustees

In discharging its duty to Royalty Share Holders, the Trustees shall not be personally liable under any circumstances, except (i) for their own willful misconduct or gross negligence, (ii) for liabilities arising from the failure by such Trustee to perform obligations expressly undertaken by it under the terms of the Trust Agreement or the Royalty Share Agreements, or (iii) for taxes, fees or other charges on, based on or measured by any fees, commissions or compensation received by the Trustees in connection with any of the transactions contemplated by the Trust Agreement. The Trustees shall not be personally liable for any error of judgment made in good faith by an authorized agent of a Trustee. In addition, the Trustees shall not be personally liable for any indebtedness of the Trust.

The Trustees may consult with counsel, accountants and other skilled persons to be selected with reasonable care and the Trustees shall not be liable for any action it takes in good faith reliance upon the opinion of such counsel, accountant or other skilled person.

 

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Except as expressly set forth in the Trust Agreement, neither the Company, in its separate and distinct capacities as grantor of the Trust and Management Trustee, nor the Delaware Trustee have any duties or liabilities, including fiduciary duties, to the Trust or any Royalty Share Holder.

 

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DESCRIPTION OF THE ROYALTY SHARES

General

The Company was established to facilitate and manage investors’ economic exposure to the Company’s contractual right to receive a portion of the Income Interests related to or derived from Music Assets from certain Purchase Agreements. To achieve this, the Company is offering to sell to investors each of the series of Royalty Shares set forth in the “Royalty Shares Offering Table” on page 65. The Company has acquired the option to purchase Income Interests related to certain Music Assets by entering into Purchase Agreements with the underlying Income Interest Owners. The Purchase Agreements are structured as a purchase option agreement, which gives us the right, but not the obligation, to purchase a specific Income Interest subject to the Purchase Agreement using the proceeds of the Offering. The Company will purchase Income Interests pursuant to each applicable Purchase Agreement in the form of Royalty Rights on an ongoing, continuous basis upon qualification of the Offering, as proceeds from the Offering are received by the Company from investors through the sale of each series of Royalty Shares that corresponds to such Royalty Rights. The Royalty Shares provide investors with the contractual right to receive Royalty Share Payments.

Each Purchase Agreement provides the Company with the option to purchase any one or more of the Income Interests provided for in the Purchase Agreement Schedules. There is no minimum amount of Income Interests that must be purchased either as a proportion of all such Income Interests that have been made available pursuant to the Purchase Agreement or as it relates to other Income Interests for which the Company has an option to purchase in the Purchase Agreement. Independent of the terms of any specific Purchase Agreement(s), the Company will use its discretion in creating each series of Royalty Shares and the Income Interests associated therewith. In so doing, the Company may elect to issue series of Royalty Shares in this Offering that reflect economic exposure to Income Interests related to a single Music Asset (i.e., a song) or a compilation of Music Assets (i.e., an album). Each series of Royalty Shares and information about the Income Interests and related Music Asset(s) which comprise the series are described in the “Royalty Shares Offering Table” beginning on page 65 and the “Composition and Recording Rights” table beginning on page 48.

Royalty Share Agreement

Each prospective investor must execute and delivery to the Company a copy of the Royalty Share Agreement, a form of which is attached hereto as Exhibit 3.1. Pursuant to the Royalty Share Agreement, the Company shall promise to pay to each Holder the Royalty Share Payments to which each Holder is entitled, subject to the terms and conditions set forth in the Royalty Share Agreement and described in “Distribution Policy.”

Description of Limited Rights

The Royalty Shares do not represent a traditional investment and should not be viewed as similar to “shares” of a corporation operating a business enterprise with management and a board of directors. A Holder will not have the statutory rights normally associated with the ownership of shares of a corporation or membership interests in a limited liability company. The Royalty Shares do not entitle their Holders to any conversion or pre-emptive rights or, except as discussed below, any redemption rights or rights to distributions. In addition, the Royalty Shares do not entitle Holders to any copyrights or administration and/or distribution rights in and to the applicable Music Assets, or any other related intellectual property or physical goods (such as albums, album artwork and other merchandise).

Voting and Approvals

The Royalty Shares do not have any voting rights, and do not represent any ownership interest in the Company, or the corpus of the Trust. The purchase of Royalty Shares is an investment only related to the monies flowing from that particular Royalty Right of the Company and does not create any rights to payments from any other Royalty Rights of the Company.

Electronic Issuance

All Royalty Shares will be issued in electronic form only and maintained through the JKBX Platform.

Minimum Purchase Threshold

The minimum purchase threshold for participation in this Offering per investor per series is one (1) Royalty Share.

Expected Rate of Return

There is no expected or projected rate of return for the Royalty Shares because of the variable nature of the underlying Income Interests.

 

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Distributions

As stated above, the Royalty Shares provide investors with Royalty Share Payments.

All monies associated with Income Interests received by us pursuant to the Purchase Agreements will be held in a designated bank account and generally distributed once per calendar quarter to the JKBX Platform accounts of the Holders of the corresponding Royalty Shares as further described below, subject to the terms of the applicable Royalty Share Agreement. In addition, the terms of use of the JKBX Platform, which is included as Exhibit 6.3 to the offering statement, may include restrictions on a Holder’s ability to withdraw amounts in their JKBX Platform account to other financial institutions, including, but not limited to, a minimum withdrawal threshold.

The Royalty Share Agreements shall provide that, during each full calendar quarter that begins following the six-month anniversary of the original issue date of a series of Royalty Shares, the Company shall declare with respect to such series (a) the amount of distributions payable per Royalty Share of such series on the next designated payment date and (b) a record date and payment date for such distributions. Each designated payment date shall be no later than forty five (45) calendar days after the end of the calendar quarter in which such payment date is declared by the Company. On each payment date, the amount of distributions payable per Royalty Share of the applicable series shall be paid to the person in whose name each Royalty Share is registered at the close of business on the applicable record date designated by the Company.

Pursuant to the applicable Royalty Share Agreement, the Company shall receive a fee equal to 1.0% of the gross monies associated with Income Interests received by us in respect of the Royalty Rights (the “Royalty Fee”). The Royalty Fee shall be deducted from the gross monies associated with Income Interests received by us and retained by the Company before Royalty Share Payments are made to the Holders of the corresponding series of Royalty Shares. This fee shall only be collected by the Company on the gross income associated with Income Interests actually received by us. If there are no gross monies associated with Income Interests received by us during a period, the Company will not collect this fee for such period (i.e., no such fee shall be charged to any Royalty Shares).

In some instances, Income Interest payments made in respect of the Royalty Rights may be made more or less frequently than quarterly. If multiple Income Interest payments are made in a single quarter, we will accrue those Income Interest payments and make one single Royalty Share Payment to Holders of the applicable series of Royalty Shares following the end of the calendar quarter in which we received those Income Interest payments. Conversely, if Income Interest payments are made less frequently than quarterly (for example, bi-annually), then there will be no Royalty Share Payments made until a distribution is declared following the end of the calendar quarter in which the Income Interest payment is received. See “Risk Factors—Royalty Rights and Income Interests are subject to risks relating to the music industry and such risks may reduce or eliminate the royalties, fees and other income streams that would otherwise accrue with respect to a song.”

Prior to the distribution of Royalty Share Payments to the applicable Holders in accordance with the process described above, the Company shall manage any monies associated with Income Interests received by investing them in cash, cash equivalents and other high credit quality, short-term investments in accordance with our investment policy designed to protect the principal investment. Our investment policy is to manage investments to achieve the financial objectives of preservation of principal, liquidity and return on investment. A portion of the investment portfolio shall be held in cash and cash equivalents. Investments may also be made in U.S. bank securities and bank deposits, U.S. government securities and commercial paper of U.S. bank or industrial companies, and highly rated and well-diversified money market funds. Any interest and other investment income generated by these investing activities shall be retained by the Company and shall not be distributed to Holders. Distributions to Holders pursuant to the Royalty Share Agreements shall be limited, in all circumstances, to an amount equal to the net monies associated with Income Interests received by us after deduction of the Royalty Fee. While the Company’s investment policy is to manage investments to preserve principal, there is always a risk that principal may be lost in any investment made by the Company and, if so, the Company may lack the funds necessary to make some or all of the distributions of the Royalty Share Payments as required by the Royalty Share Agreements.

The above discussion regarding the royalty Shares and Royalty Share agreements is qualified in its entirety by the form of Royalty Share Agreement, which is included as Exhibit 3.1 to the offering statement of which this Offering Circular forms an integral part.

Term of the Royalty Shares

The term of each series of Royalty Shares will be consistent with the term of the corresponding Royalty Rights of the underlying Purchase Agreements. Terms can be as long as the life of copyright. For more information on specific Royalty Shares, see “Description of the Music Assets Underlying the Royalty Shares.”

No Security Interest

The Royalty Shares will be unsecured obligations of the Company. In the event the Company fails or defaults, investors may not be able to recover Income Interests directly from the Income Interest Owner.

In the event of a bankruptcy or similar proceeding of the Company, the relative rights of the Holder of the Royalty Shares as compared to the Holders unsecured indebtedness of the Company are uncertain. If we were to become subject to a bankruptcy or similar proceeding, the holder of the Royalty Shares will have an unsecured claim against us that may or may not be limited in recovery to the corresponding Purchase Agreement.

Transfer Restrictions

The Royalty Shares may only be transferred by operation of law or on a trading platform approved by the Company, such as the ATS, or with the prior written consent of the Company.

Exclusive Jurisdiction

Any action arising out of the Subscription Agreement or the Royalty Share Agreement is subject to the non-exclusive jurisdiction and venue of the courts of the State of New York, except where federal law requires that certain claims be brought in the federal courts of the United States. In particular, the foregoing shall not apply to claims arising under the Securities Act and the Exchange Act.

Section 27 of the Exchange Act creates exclusive federal jurisdiction over all suits brought to enforce any duty or liability created by the Exchange Act or the rules and regulations thereunder. As a result, Section 27 of the Exchange Act would likely require suits to enforce any duty or liability created by the Exchange Act to be brought in federal court. Investors will not be deemed to have waived the Company’s compliance with the federal securities laws and the rules and regulations thereunder. See also “Risk Factors—Our Subscription Agreement and Royalty Share Agreement each provide for non-exclusive jurisdiction and venue in the courts of the State of New York but requires you to acknowledge that this provision shall not apply to claims arising under the Securities Act and Exchange Act[]” above.

 

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Waiver of Right to Trial by Jury and Mandatory Arbitration

Our Royalty Share Agreement and Subscription Agreement provide that each investor waives the right to a jury trial for any claim they may have against us arising out of, or relating to, the respective agreements and any transaction arising under such agreement, which could include claims under federal securities laws. By subscribing to this Offering, the investor warrants that the investor has reviewed this waiver, and knowingly and voluntarily waives his or her jury trial rights. If we opposed a jury trial demand based on the waiver, a court would determine whether the waiver was enforceable given the facts and circumstances of that case in accordance with applicable case law.

 

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DESCRIPTION OF THE MUSIC ASSETS UNDERLYING THE ROYALTY SHARES

Sources of Royalties

In the music industry, third-party entities are often involved in exploiting songs and collecting royalties for artists, writers, and other rights holders. With respect to the underlying musical composition of a song (a “Composition”), songwriters may enter into a transaction with a publisher or administrator to exploit the Composition and collect their royalties. Typically, publishers and administrators are tasked with exploiting and/or licensing songs across a variety of platforms, partners, and uses and protecting rights over the underlying Composition, as appropriate. The rights associated with a Composition generally accrue royalties from various income interest sources, including:

 

   

Mechanical royalties: These royalties are paid to songwriters, publishers, and administrators for the reproduction and distribution of a Composition and are generated from physical and digital sales and streaming of the Composition. These royalties are collected from labels, mechanical rights organizations, such as the Harry Fox Agency and the Mechanical Licensing Collective, or directly from streaming and download platforms.

 

   

Public performance royalties: These royalties are earned when a Composition is performed publicly or broadcasted, including on radio or TV, in live performances, and on certain streaming platforms. These royalties are collected by performance rights organizations (such as Broadcast Music, Inc. (BMI), the American Society of Composers, Authors and Publishers (ASCAP), the Society of European Stage Authors and Composers (SESAC), and Global Music Rights (GMR)) and are paid to songwriters, publishers, and administrators.

 

   

Synchronization fees: These negotiated fees are earned when a Composition is synchronized with visual media, such as movies, TV shows, commercials, and video games, and rights holders are paid for the use of their music in these visual productions.

 

   

Other: In addition to the categories described above, other royalties, fees and income may be generated in connection with the use of a Composition, including income generated by print, karaoke, or social media.

 

   

Remix: Some Compositions include rights associated with related remixed versions of such Composition. The rights associated with remixes generally accrue royalties from the various income interest sources described above in this list.

With respect to a recording of a musical composition (a “Recording”), recording artists may enter into a transaction with a record label, label services company, or distributor to exploit and collect their royalties. Typically, these third parties are tasked with exploiting and/or licensing songs across a variety of platforms, partners, and uses. The rights associated with a Recording generally accrue royalties from various income interest sources, including:

 

   

Sales: These royalties are generally paid to record labels from the sale of records in all formats (physical, downloads, and streams).

 

   

Synchronization fees: These negotiated fees are earned when a Recording is synchronized with visual media, such as movies, TV shows, commercials, and video games and rights holders are paid for the use of their music in these visual productions.

 

   

Neighboring rights and digital performance royalties: These royalties are generated by terrestrial radio, television, and venue exploitations outside of the United States or by exploitations on digital and satellite radio in the United States, such as Pandora, Sirius, and iHeartRadio when they collect similar “digital performance royalties.” These royalties are public performance royalties paid to the owner of the Recording of the song performed and/or the performer of the Recording.

 

   

Other: In addition to the categories described above, other royalties, fees and income may be generated in connection with the use of a Recording, including income generated by social media.

 

   

Remix: Some Recordings include rights associated with related remixed versions of such Recording. The rights associated with remixes generally accrue royalties from the various income interest sources described above in this list.

 

   

Royalty Participants: Some Recordings include royalties that are paid to parties other than a record label, including producers, artists, engineers, and other key stakeholders. These royalties accrue from the various income interest sources described above in this list.

Coda Purchase Agreement

The Company has entered into a Purchase Agreement, dated as of November 5, 2023 (the “Coda Purchase Agreement”), with Coda Songs LLC, a Delaware limited liability company (“Coda”), pursuant to which Coda has agreed to make a portion of its Income Interests in certain Compositions and Recordings available for purchase by the Company and the Company will have an option (but not an obligation) to acquire some or all of such portion of its Income Interests in accordance with the terms and conditions of the Coda Purchase Agreement.

Coda has made a portion of its Income Interests in the Compositions and Recordings described in the “Composition and Recording Rights” table beginning on page 48 available for purchase by the Company pursuant to the Coda Purchase Agreement. Each Composition or Recording presented corresponds to a particular series of Royalty Shares. The Company will use the proceeds from this Offering to acquire from Coda only those Income Interests that correspond to the series of Royalty Shares that are sold in this Offering. For each Royalty Share sold, the Company shall acquire a pro rata portion of the corresponding Income Interests available for purchase. For example, if a maximum of 1,000 Royalty Shares of a particular series are offered and the Company sells 500 of such Royalty Shares, the Company shall acquire from Coda fifty percent (50%) of the total Income Interests available for purchase by the Company pursuant to the Coda Purchase Agreement that correspond to such series of Royalty Shares.

While we will acquire Income Interests from Coda pursuant to the Coda Purchase Agreement as Royalty Shares are sold in this Offering, we anticipate that payments of royalties, fees and other income from Coda relating to Income Interests will only begin following April 1, 2024. Accordingly, we do not anticipate receiving any royalties, fees and other income from Coda prior to April 1, 2024 and therefore any distributions on Royalty Shares that relate to Income Interests acquired from Coda will only include amounts received from Coda from April 1, 2024.

Composition and Recording Rights Table

The “Composition and Recording Rights” table beginning on page 48 describes each of the Composition and Recording Income Interests that the Company has the right to acquire pursuant to a Purchase Agreement. Please review the following descriptions of each of the columns presented in the Composition and Recording Rights table.

 

   

Corresponding Series: Each Composition or Recording described in this table corresponds to a particular series of Royalty Shares as designated in this column. Please see the “Royalty Shares Offering Table” beginning on page 65 for additional information regarding each series of Royalty Shares being offered in this Offering and the section entitled “Description of the Royalty Shares” beginning on page 44.

 

   

Song Title: This is the title of the song to which the Composition or Recording relates as indicated by the Income Interest Owner pursuant to the applicable Purchase Agreement.

 

   

Release Date: This is the year in which the Composition or Recording was first recorded and released. Release Date information has been sourced from chartmetric.com.

 

   

Genre: This column presents the genre of music of the Composition or Recording.

 

   

ISRC/ISWC: ISRC is the unique identifier issued for a Recording under the convention of the International Standard Recording Code. ISWC is the unique identifier issued for a Composition under the convention of the International Standard Musical Work Code. This information is sourced from performing rights organizations or provided to the Company by the Income Interest Owner pursuant to the applicable Purchase Agreement and is not independently verified or verifiable by the Company.

 

   

Songwriter: These are the individual(s) credited with writing the Composition or, in the case of a Recording, the musical composition that is recorded. This information is provided to the Company by the Income Interest Owner pursuant to the applicable Purchase Agreement and is not independently verified or verifiable by the Company.

 

   

Recording Artist: This is the original recording artist or group that recorded the Recording or, in the case of a Composition, that recorded the original version of the song. This information is provided to the Company by the Income Interest Owner pursuant to the applicable Purchase Agreement and is not independently verified or verifiable by the Company.

 

   

Rights Type: This column indicates whether the Income Interest is a Composition or a Recording.

 

   

Income Interest Type: This column indicates the types of royalties, fees and other income that are included in the Income Interest to be acquired from the Income Interest Owner. See “—Sources of Royalties” for more information on the various sources of royalties, fees and other income.

 

   

Term: This is the length of the time for which the Income Interest Owner owns and/or controls the underlying Income Interest. For example, “Life of Copyright” indicates that the Income Interest Owner owns and/or controls the Income Interest for the entire duration of the relevant underlying copyright, subject to statutory reversion rights. This information is provided to the Company by the Income Interest Owner pursuant to the applicable Purchase Agreement and is not independently verified or verifiable by the

 

   

Income Interest Owner: This column indicates the party from which the Company has the right to acquire the Income Interest pursuant to a Purchase Agreement.

 

   

Region: Region refers to the geographical region from which the Composition or Recording rights accrue royalties pursuant to the terms of the applicable Purchase Agreement.

 

   

Historical Royalties: These columns present the aggregate historical royalties that would have been received in the specified calendar year in connection with a Composition or Recording if the total Income Interests available for purchase by the Company had been acquired prior to such calendar year. Historical royalties are presented without the deduction of the Royalty Fee. Historical royalty information for each Composition or Recording is provided by the Income Interest Owner pursuant to the applicable Purchase Agreement. The Income Interest Owner represents in the applicable Purchase Agreement that the historical royalty information is true, complete and accurate, however this information is not independently verified by the Company and is not capable of being independently verified by the Company. See “Risk Factors—Certain information presented in this Offering Circular is provided to the Company by Income Interest Owners and cannot be independently verified by the Company.”

 

   

Music Asset Description: The “Music Asset Description” provided for each Composition and Recording is based on a combination of third-party sources, including Wikipedia, the Recording Industry Association of America (RIAA) website, Luminate, Chartmetric and other charting websites and is not independently verified or verifiable by the Company.

 

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Composition and Recording Rights1

 

Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020(2)     2021     2022  

JKBX HITS

VOL1 00005

  All My Love   2011  

Pop, Dance/

Electronic

  QMUY41500008   Ariana Grande, Ella Yelich O’Connor, Philip Meckseper, Karen Ørsted, Boaz De Jong, Thomas Wesley Pentz  

Major Lazer, Ariana Grande

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 7,523     $ 7,818     $ 8,247  

 

Music Asset Description

 

 

 

Released in 2014, Major Lazer’s “All My Love” is an electropop track featuring Ariana Grande. The track was included on the soundtrack The Hunger Games: Mockingjay. Ariana Grande, Lorde, and MØ are credited as additional writers on the song. The track reached #15 on Billboard’s Hot Dance/Electronic Songs.

 

JKBX HITS

VOL1 00006

  All The Right Moves   2009   Pop   T-903.763.458-5   Ryan Tedder   OneRepublic   Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 27,639     $ 36,109  

 

Music Asset Description

 

 

 

“All The Right Moves” is the first single from OneRepublic’s 2009 album Waking Up. Achieving 2x Platinum RIAA certification, the track peaked at #18 on the Billboard Hot 100. The track also reached the top 10 in countries including Austria, Belgium, Czech Republic, Ireland, Israel, New Zealand and Switzerland.

 

JKBX HITS

VOL1 00007

  All The Right Moves   2009   Pop   USUM70984099   Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 5,339     $ 6,283  

 

Music Asset Description

 

 

 

Written by Ryan Tedder, “All The Right Moves” is the first single from OneRepublic’s 2009 album Waking Up. The song has been covered by Arcando and Oddcube and others.

 

JKBX HITS

VOL1 00008

  Already Gone   2009   Pop   T-902.529.322-5   Kelly Clarkson, Ryan Tedder  

Kelly Clarkson

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 4,585     $ 4,732  

 

Music Asset Description

 

 

 

Written by Ryan Tedder and Kelly Clarkson, “Already Gone” was recorded by Kelly Clarkson and released as the 3rd single from her studio album, All I Ever Wanted. Sleeping At Last covered “Already Gone” in 2016 for their album Covers, Vol. 2. Kelly Clarkson’s original version of the song reached #13 on the Billboard Hot 100 and #1 on the Adult Top 40 chart in the US.

 

JKBX HITS

VOL1 00010

  Apologize   2007   Pop   T-072.432.423-5   Timbaland, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 128,888     $ 132,816  

 

Music Asset Description

 

 

 

Written by Ryan Tedder and Timbaland, “Apologize” was OneRepublic’s debut single, originally released on Timbaland’s Shock Value and then later on OneRepublic’s Dreaming Out Loud (2007). The song has been covered by Luke Bryan, Violette Wautier, Kacey Musgraves, Silverstein, Billbilly01, Bailey Jehl, and others.

 

JKBX HITS

VOL1 00011

  Apologize   2007   Pop   USUM70757102   Timbaland, Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 8,194     $ 7,058  

 

Music Asset Description

 

 

 

“Apologize” was initially recorded and released as part of Timbaland’s album Shock Value and then later on OneRepublic’s Dreaming Out Loud (2007). The track peaked at number two on the Billboard Hot 100 and is RIAA Certified 5x Platinum. It earned the band a Grammy Award nomination for Best Pop Performance by a Duo or Group with Vocals in 2008. The song went to #1 in Australia, Austria, Canada, Germany, Hungary, Italy, Netherlands, New Zealand, Poland, Portugal, Slovakia, Sweden, Switzerland, Turkey, and the US.

 

 

1 

Please refer to the section above entitled “Description of the Music Assets Underlying the Royalty Shares—Composition and Recording Rights Table” for a description of the categories of information presented in this table.

2 

As described in “Description of the Music Assets Underlying the Royalty Shares—Composition and Recording Rights Table,” historical royalty information is provided to the Company by the Income Interest Owner. “N/A” indicates that historical royalty information for 2020 has not been provided by the Income Interest Owner and is unavailable for presentation.

 

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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  

JKBX HITS

VOL1 00012

  Be Together   2015   Dance/Electronic, Indie   QMUY42200101   Andrew Swanson, Elliot Bergman, Natalie Bergman, Thomas Wesley Pentz  

Major Lazer, Wild Belle

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 18,037     $ 15,148     $ 14,266  

 

Music Asset Description

 

 

 

Released in 2015, “Be Together” is an EDM track recorded by Major Lazer and Wild Belle. The track was featured on Major Lazer’s third studio album, Peace Is the Mission and remixed by 6 different Australian artists on the band’s 2015 Australazer EP.

 

JKBX HITS

VOL1 00013

  Best Day Of My Life   2013   Alternative, Rock   T-913.104.314-6   Aaron Accetta, Michael Goodman, Zac Barnett, Matt Sanchez, James Adam Shelley, Dave Rublin  

American Authors

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide   $ 16,868     $ 22,266     $ 45,515  

 

Music Asset Description

 

 

 

Written by band members Zac Barnett, Dave Rublin, Matt Sanchez, and James Adam Shelley, along with producers Aaron Accetta and Michael (Shep) Goodman “Best Day Of My Life” is the lead single from American Authors self-titled EP, American Authors. It was released in 2013, and included on their 2014 album Oh, What a Life. The song has been covered by recording artist Brent Morgan, Vitamin String Quartet and others.

 

JKBX HITS

VOL1 00014

  Bleeding Love   2007   Pop   T-901.046.470-7   Jesse McCartney, Ryan Tedder  

Leona Lewis

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 35,545     $ 36,779  

 

Music Asset Description

 

 

 

Written by Ryan Tedder and Jesse McCartney, “Bleeding Love” was released in 2007 and recorded by British singer Leona Lewis for her debut studio album, Spirit. Tedder and McCartney were awarded the Song of the Year Award at the 26th Annual ASCAP Pop Music Awards. The original version of the song was recorded by Jesse McCartney and numerous artists have covered “Bleeding Love,” including Danny Avila, Ekko City, Boyce Avenue, Ni/co, and others.

 

JKBX HITS

VOL1 00015

  Bleeding Love   2007   Pop   GBHMU0700049   Jesse McCartney, Ryan Tedder  

Leona Lewis

  Sound Recording - Production   Neighboring Rights, Royalty Participant , Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 7,376     $ 6,604  

 

Music Asset Description

 

 

 

Released in 2007, “Bleeding Love” was recorded by Leona Lewis for her debut studio album, Spirit. The song peaked at #1 on the charts in more than 20 countries worldwide and reached #1 on the Billboard Hot 100. It has been certified 4X platinum by the RIAA. “Bleeding Love” was nominated for Record of the Year and Best Female Pop Vocal Performance at the 51st Annual Grammy Awards. The track reached #1 on the charts in Australia, Austria, Belgium, Canada, France, Germany, Hungary, Ireland, Japan, Netherlands, New Zealand, Norway, Poland, Scotland, Slovakia and the UK.

 

JKBX HITS

VOL1 00016

  Blow That Smoke   2018   Dance/Electronic   QMUY41800145   Philip Meckseper, Ludvig Söderberg, Ebba Tove Elsa Nilsson, Jakob Jerlström, Sibel, Clément Picard, Maxime Picard, Thomas Wesley Pentz  

Major Lazer, Tove Lo

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 14,687     $ 9,013     $ 5,802  

 

Music Asset Description

 

 

 

“Blow That Smoke” is an electropop song by Major Lazer, featuring Tove Lo. It was the seventh and final single from the album Major Lazer Essentials. Both the single and album were released in October 2018.

 

 

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Table of Contents

Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  

JKBX HITS

VOL1 00017

  Bonfire Heart   2013   Pop   T-910.862.441-5   James Blunt, Ryan Tedder  

James Blunt

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 7,270     $ 7,219  

 

Music Asset Description

 

 

 

Written by Ryan Tedder and James Blunt, “Bonfire Heart” was the lead single from James Blunt’s fourth studio album, Moon Landing. The song peaked at #1 in Austria, Germany, Luxembourg, Slovenia and Switzerland and saw top ten chart success globally in numerous other countries.

 

JKBX HITS

VOL1 00019

  Brighter Than The Sun   2011   Pop   T-905.664.845-4   Colbie Caillat, Ryan Tedder  

Colbie Caillat

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 3,893     $ 3,318  

 

Music Asset Description

 

 

 

Released in 2011 by Colbie Caillat, “Brighter Than The Sun” was the second single from Caillat’s third studio album, All of You. “Brighter Than The Sun” reached #1 on the US Adult Contemporary chart and is RIAA certified Platinum. The song spent 26 weeks on the Billboard Hot 100.

 

JKBX HITS

VOL1 00020

  Brighter Than The Sun   2011   Pop   USUM71103756   Colbie Caillat, Ryan Tedder  

Colbie Caillat

  Sound Recording - Production   Neighboring Rights, Royalty Participant , Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 810     $ 3,044  

 

Music Asset Description

 

 

 

Written by Ryan Tedder and Colbie Caillat, “Brighter Than The Sun” was originally recorded by Colbie Caillat and released as the second single from Caillat’s third studio album, All of You. The song is produced with different instruments leading into each part of the song.

 

JKBX HITS

VOL1 00021

  Bubble Butt   2013   Dance/Electronic   US38W1229212   Izana Davis, Valentino Khan, Michael Ray Nguyen-Stevenson, Peter Gene Hernandez, David Taylor, Thomas Wesley Pentz  

Major Lazer, Bruno Mars, Tyga, Mystic

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 36,652     $ 13,551     $ 12,146  

 

Music Asset Description

 

 

 

Released in 2013, “Bubble Butt” is a song by electronic trio Major Lazer, featuring Bruno Mars, Tyga and Mystic. The track is from the trio’s second studio album, Free the Universe. The song reached #8 on the US Hot Dance/Electronic Songs chart and is RIAA certified Gold.

 

JKBX HITS

VOL1 00022

  Burn   2012   Pop   T-910.992.696-7   Elena Goulding, Greg Kurstin, Noel Zancanella, Ryan Tedder  

Ellie Goulding

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 29,476     $ 31,113  

 

Music Asset Description

 

 

 

Released in 2013, “Burn” is a song from English singer Ellie Goulding’s album, Halcyon Days (2013), a reissue of her second studio album, Halcyon. The song reached #13 on the Billboard Hot 100 and #1 on Billboard’s Dance/Mix Show Airplay charts. “Burn” is certified 5X Platinum by the RIAA and is also 3X Platinum in Australia, 2X Platinum in the UK, Denmark and Italy and Platinum in Germany, Mexico and Switzerland.

 

JKBX HITS

VOL1 00023

  Burn   2012   Pop   GBUM71303482   Elena Goulding, Greg Kurstin, Noel Zancanella, Ryan Tedder  

Ellie Goulding

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 38     $ 18  

 

Music Asset Description

 

 

 

Written by Ryan Tedder, Ellie Goulding, Greg Kurstin and Noel Zancanella, “Burn” is a pop song recorded by Ellie Goulding from Halcyon Days (2013), a reissue of her second studio album, Halcyon. The song has been covered by Scott Bradlee’s Postmodern Jukebox, Alex Goot and others.

 

JKBX HITS

VOL1 00024

  Buscando Huellas   2017   Dance/Electronic   QMUY41700059   Sean Paul, J Balvin, Thomas Wesley Pentz  

Major Lazer, J Balvin, Sean Paul

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 6,258     $ 5,071     $ 8,999  

 

Music Asset Description

 

 

 

Released in 2017, “Buscando Huellas” is a track by electronic trio Major Lazer, featuring J Balvin and Sean Paul. The song was included on the trio’s EP Know No Better.

 

 

50


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Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  

JKBX HITS

VOL1 00026

  Connection   2018   Pop   USUM71808832   Noel Zancanella, Jacob Kasher, Kevin Fisher, Zach Skelton, Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 5,409     $ 1,711  

 

Music Asset Description

 

 

 

Released in 2018, “Connection” is a song by OneRepublic. The music video is set at New York’s World Trade Center Station, with Ryan Tedder looking for a ‘connection’ to end his loneliness. It has been streamed more than 25 million times on YouTube.

 

JKBX HITS

VOL1 00027

  Counting Stars   2013   Pop   T-909.860.014-7   Ryan Tedder  

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 180,839     $ 261,497  

 

Music Asset Description

 

 

 

Written by Ryan Tedder, “Counting Stars” was recorded in 2012 by OneRepublic and released in 2013 as the band’s second single from the album Native. It has seen top ten chart success in more than 30 countries worldwide. It peaked at #1 and sold more than 1 million copies in the UK. The song has been covered by artists such as Alex Goot, Chrissy Costanza, R5, Simply Three, and others.

 

JKBX HITS

VOL1 00028

  Counting Stars   2013   Pop   USUM71301306   Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 15,151     $ 7,627  

 

Music Asset Description

 

 

 

Released in 2013, “Counting Stars” is a pop song recorded by OneRepublic. It was released as the band’s second single from the album Native. The track peaked at #2 on the Billboard Hot 100 and is certified Diamond by the RIAA for exceeding over 10 million sales in the U.S. The track has seen gold and platinum certifications worldwide, selling over 41 million copies globally and also going #1 on the charts in numerous countries including Canada, Finland, Israel, Mexico, Poland, Scotland, Slovakia, the UK, and the U.S.

 

JKBX HITS

VOL1 00030

  Diplomatico   2018   Dance/Electronic   QMUY42100007   Eric Alberto-Lopez, Jean Carlos Santiago Perez, Thomas Wesley Pentz  

Major Lazer, Guaynaa, Diplo

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 13,284     $ 11,160  

 

Music Asset Description

 

 

 

Released in 2021, “Diplomatico” is a EDM song performed by electronic music trio Major Lazer, featuring Guaynaa and Diplo. The track was included on the group’s album Music Is the Weapon.

 

 

51


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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  

JKBX HITS

VOL1 00031

  Every Breaking Wave   2014   Pop, Rock   GBUM71404673   Bono, Larry Mullen Jr., The Edge, Adam Clayton, Ryan Tedder  

U2

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 6,080     $ 1,577  

 

Music Asset Description

 

 

 

“Every Breaking Wave” was originally written to be included on U2’s 2009 album No Line on The Horizon, but ultimately was held back. The song saw changes and a reworking in 2013 under co-producer Ryan Tedder, and was included on the band’s thirteenth studio album, Songs of Innocence. It was released as the album’s second single.

 

JKBX HITS

VOL1 00032

  Everybody Loves Me   2009   Pop   T-903.248.094-7   Brent Kutzle, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 11,387     $ 10,358  

 

Music Asset Description

 

 

 

Written by Ryan Tedder and Brent Kutzle, “Everybody Loves Me” is a pop song recorded by OneRepublic. The song is featured on the band’s 2009 album Waking Up.

 

JKBX HITS

VOL1 00033

  Everybody Loves Me   2009   Pop   USUM70974275   Brent Kutzle, Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 17     $ 14  

 

Music Asset Description

 

 

Released in 2009, “Everybody Loves Me” is a pop song recorded by OneRepublic. The track is featured on the band’s 2009 album Waking Up.

 

JKBX HITS

VOL1 00034

  Faith   2016   Pop, R&B   USQ4E1602392   Brent Kutzle, Francis Starlite, Stevie Wonder, Benny Blanco, Ryan Tedder  

Stevie Wonder

  Sound Recording - Production   Royalty Participant   Life of Copyright   Coda   Worldwide     N/A     $ 884     $ 820  

 

Music Asset Description

 

 

 

“Faith” is a song by performer Stevie Wonder that was the lead single from the soundtrack of the 2016 musical-animated film Sing. The song was written by Francis Starlite, Stevie Wonder, Brent Kutzle and producers Ryan Tedder and Benny Blanco. The track was nominated for Best Original Song at the 74th Annual Golden Globe Awards.

 

JKBX HITS

VOL1 00035

  Feel Again   2012   Pop   T-908.996.588-8   Noel Zancanella, Brent Kutzle, Drew Brown, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 4,266     $ 3,159  

 

Music Asset Description

 

 

 

Written by Ryan Tedder, Brent Kutzle, Drew Brown and Noel Zancanella, “Feel Again” is a song recorded by OneRepublic for their third studio album Native. The song reached #8 on the US Adult Top 40 and has been certified RIAA Gold.

 

JKBX HITS

VOL1 00037

  Get Free   2012   Dance/Electronic   US38W1229203   Amber Coffman, Thomas Wesley Pentz  

Major Lazer, Amber Coffman

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 25,406     $ 19,708     $ 22,796  

 

Music Asset Description

 

 

 

Released in 2012, “Get Free” is a Dancehall song recorded by Major Lazer and featuring vocals from Amber Coffman. The song was featured on the trio’s album Free The Universe and saw top 20 chart success in countries including Belgium, Netherlands, Romania, and the UK.

 

JKBX HITS

VOL1 00038

  Ghost   2014   Pop, R&B   T-300.440.360-1   Noel Zancanella, Ester Dean, Ella Henderson, Ryan Tedder  

Ella Henderson

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 11,286     $ 12,256  

 

Music Asset Description

 

 

 

Written by Ella Henderson, Ryan Tedder, Ester Dean and Noel Zancanella, “Ghost” was recorded by English singer songwriter Ella Henderson. The song is featured on her debut album Chapter One and debuted at #1 on the UK Singles Chart. It has been certified Platinum in Australia, New Zealand, the United Kingdom and the United States.

 

 

52


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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  

JKBX HITS

VOL1 00039

  Ghost   2014   Pop, R&B   GBHMU1400029   Noel Zancanella, Ester Dean, Ella Henderson, Ryan Tedder  

Ella Henderson

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide           N/A     $ 1,341     $ 1,742  

 

Music Asset Description

 

 

 

Released in 2014, “Ghost” is a pop song recorded by Ella Henderson for her debut album Chapter One. The song reached #5 on the US Adult Top 40 chart and has been certified Platinum by the RIAA in the United States. The track reached the top 10 in numerous countries including Australia, Austria, Canada, Czech Republic, Germany, Hungary, Ireland, New Zealand, Poland, Scotland, Slovakia, South Africa, and the UK.

 

JKBX HITS

VOL1 00040

  Good Life   2009   Pop   T-904.822.524-7   Noel Zancanella, Brent Kutzle, Eddie Fisher, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 10,133     $ 10,199  

 

Music Asset Description

 

 

 

“Good Life” is a song recorded by OneRepublic for their second studio album, Waking Up in 2009. The song reached #8 on the Billboard Hot 100 and is RIAA certified 3X Platinum. The track peaked in the top 10 in countries including Austria, Canada, Germany, Luxembourg, and the U.S.

 

JKBX HITS VOL1 00041   Good Life   2009   Pop   USUM70999110   Noel Zancanella, Brent Kutzle, Eddie Fisher, Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 2,117     $ 4,447  

 

Music Asset Description

 

 

 

Written by group members Ryan Tedder, Brent Kutzle, and Eddie Fisher along with Noel Zancanella, “Good Life” is a song recorded by OneRepublic for their album Waking Up. The song has also been covered by artists such as Tiffany Alvord, Alex Goot, Tyler Ward and others.

 

JKBX HITS VOL1 00042   Halo   2008   Pop, R&B   T-901.559.781-6   Evan Kidd Bogart, Beyoncé Knowles, Ryan Tedder  

Beyoncé

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 52,233     $ 50,037  

 

Music Asset Description

 

 

 

Written by Ryan Tedder, Evan Bogart and Beyoncé, “Halo” is a Pop / R&B song written and recorded for Beyonce’s third studio album, I Am... Sasha Fierce (2008). “Halo” has been covered by many artists including LP, Alexander Stewart, Davina Michelle, Ane Brun, Linnea Olsson, Lotte Kestner and others. The American Society of Composers, Authors and Publishers (ASCAP) recognized “Halo” as one of the most performed songs of 2009 at the 27th ASCAP Pop Music Awards.

 

JKBX HITS VOL1 00043   Halo   2008   Pop, R&B   USSM10804556   Evan Kidd Bogart, Beyoncé Knowles, Ryan Tedder  

Beyoncé

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 26,885     $ 20,884  

 

Music Asset Description

 

 

 

Released in 2009, “Halo” is a Pop / R&B song recorded by Beyoncé for her third studio album, I Am... Sasha Fierce. “Halo” was nominated for Record of the Year and won Best Female Pop Vocal Performance at the 52nd Annual Grammy Awards. The song reached #5 on the Billboard Hot 100 chart and is RIAA certified 9X Platinum. It saw top 5 chart success in countries including Australia, Brazil, Canada, Croatia, Czech Republic, Germany, Ireland, Italy, Norway, Portugal, Scotland, Slovakia, Spain, Switzerland, the UK and the U.S.

 

JKBX HITS VOL1 00044   Happier   2017   Pop   T-928.114.981-3   Ed Sheeran, Benjamin Levin, Ryan Tedder  

Ed Sheeran

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 50,691     $ 41,546  

 

Music Asset Description

 

 

 

Written by Ed Sheeran along with Ryan Tedder and Benny Blanco, “Happier” is a pop song included on Ed Sheeran’s third studio album, ÷ (Divide) released in 2017. The song has been covered by Boyce Avenue, and others.

 

JKBX HITS VOL1 00045   I Lived   2013   Pop   T-910.023.302-1   Noel Zancanella, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 11,243     $ 24,230  

 

Music Asset Description

 

 

 

Released in 2014, “I Lived” is a pop song recorded by OneRepublic for their album, Native. Released as the fourth and final single from the album, the track reached #10 on Billboard’s US Adult Top 40 chart. The track also has Platinum certification in Australia and Italy and Gold certification in Germany and the UK.

 

JKBX HITS VOL1 00046   I Lived   2013   Pop   USUM71301307   Noel Zancanella, Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 7,168     $ 5,462  

 

Music Asset Description

 

 

 

Written by Ryan Tedder and Noel Zancanella, “I Lived” is a song recorded by OneRepublic for their album Native. Released as the fourth and final single from the album, the track reached #10 on Billboard’s US Adult Top 40 chart. The track also has Platinum certification in Australia and Italy and Gold certification in Germany and the UK. It was the final song covered in the series finale of the hit FOX musical comedy-drama Glee, in March 2015. It was also covered by Caleb and Kelsey, and others

 

 

53


Table of Contents

Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  

JKBX HITS

VOL1 00047

  I Want You To Know   2015   Dance/Electronic   T-315.646.161-5   Mr. Franks, Kevin Nicholas Drew, Anton Zaslavski, Ryan Tedder  

Zedd

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 7,874     $ 6,065  

 

Music Asset Description

 

 

 

Written by Mr. Franks, Kevin Nicholas Drew, Anton Zaslavski and Ryan Tedder, “I Want You To Know” is an EDM song recorded by Zedd, featuring Selena Gomez. “I Want You to Know” was the lead single for Zedd’s second studio album, True Colors (2015) and has been covered by Kurt Hugo Schneider, Tanner Patrick, and others.

 

JKBX HITS

VOL1 00049

  If I Lose Myself   2013   Pop   T-910.555.134-6  

Brent Kutzle,

Zach Filkins, Benny Blanco, Alessandro Lindblad, Ryan Tedder

 

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 34,162     $ 34,592  

 

Music Asset Description

 

 

 

Written by Brent Kutzle, Zach Filkins, Benny Blanco, Alessandro Lindblad and Ryan Tedder, “If I Lose Myself” was recorded by OneRepublic for their 2013 album, Native. It has been covered by Tiffany Alvord, Madilyn Bailey, and others.

 

JKBX HITS

VOL1 00050

  If I Lose Myself   2013   Pop   USUM71303190  

Brent Kutzle,

Zach Filkins,

Benny Blanco, Alessandro Lindblad, Ryan Tedder

 

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 3,862     $ 2,637  

 

Music Asset Description

 

 

 

Released in 2013, “If I Lose Myself” is a song recorded by American pop rock band OneRepublic for their third studio album, Native. It was released as the album’s first official single on January 8, 2013. The track reached the top 10 in countries including Austria, Belgium, Germany, Luxembourg, Poland, Slovakia, Sweden, Switzerland and the US.

 

JKBX HITS

VOL1 00051

  Kids   2016   Pop   T-920.106.767-6  

Brent Kutzle,

Steve Wilnot, Brandon Collins, Ryan Tedder

 

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 11,659     $ 10,946  

 

Music Asset Description

 

 

 

Written by Brent Kutzle, Steve Wilmot, Brandon Collins and Ryan Tedder, “Kids” is a song recorded by OneRepublic for their 2016 album Oh My My. Upon its release as a single, the OneRepublic song reached #17 on the Billboard Adult Top 40 chart.

 

 

54


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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  

JKBX HITS

VOL1 00053

  Know No Better   2017   Dance/Electronic   QMUY41700058   Brittany Hazard, Camila Cabello, Jacques Webster, Quavious Marshall, Henry Allen, Thomas Wesley Pentz  

Major Lazer, Travis Scott, Camila Cabello, Quavo

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 46,653     $ 32,998     $ 30,553  

 

Music Asset Description

 

 

 

Released in 2017, “Know No Better” is a song by electronic music trio Major Lazer, featuring Camila Cabello, Travis Scott and Quavo. It was released as the lead single of the group’s EP of the same name.

 

JKBX HITS

VOL1 00054

  Lean On   2015   Dance/Electronic   QMUY41500131   Philip Meckseper, Karen Ørsted, Steve Guess, William Grigahcine, Thomas Wesley Pentz  

Major Lazer, MØ, DJ Snake

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 165,996     $ 175,055     $ 176,394  

 

Music Asset Description

 

 

 

Released in 2015, “Lean On” is a song by electronic music trio Major Lazer and French DJ and record producer DJ Snake, featuring MØ. It was released as the lead single from Major Lazer’s third studio album, Peace Is the Mission. The song reached #4 on the Billboard Hot 100 and is certified Diamond by the RIAA for exceeding over 10 million sales in the U.S. The track reached #1 in numerous countries including Argentina, Australia, Czech Republic, Denmark, Finland, Greece, Hungary, Iceland, Lebanon, Luxemburg, Mexico, Netherlands, New Zealand, Romania, Russia, Slovakia, Switzerland, the UK and the US.

 

JKBX HITS

VOL1 00055

  Let’s Hurt Tonight   2016   Pop   T-920.525.277-3   Noel Zancanella, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 4,933     $ 3,311  

 

Music Asset Description

 

 

Written by Noel Zancanella and Ryan Tedder, “Let’s Hurt Tonight” is a pop song recorded by OneRepublic for their fourth studio album, Oh My My (2016).

 

JKBX HITS

VOL1 00056

  Light It Up   2015   Dance/Electronic   QMUY41500182  

Philip Meckseper, David Alexander Malcom,

Nailah Thorbourne, Sidney Swift, T-Baby, Thomas Wesley Pentz

 

Major Lazer, Nyla

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 91,671     $ 69,728     $ 76,371  

 

Music Asset Description

 

 

 

Released in 2015, “Light It Up” is a song recorded by American electronic music group Major Lazer, featuring vocals from Jamaican singer Nyla. The track was first released on Major Lazer’s third studio album Peace Is the Mission.

 

JKBX HITS

VOL1 00057

  Lonely   2019   Pop, Dance/Electronic   T-929.949.638-1  

Philip Meckseper,

Henry Allen,

Joe Jonas,

Nick Jonas,

Thomas Wesley Pentz, Ryan Tedder

 

Diplo, Jonas Brothers

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 5,283     $ 3,307  

 

Music Asset Description

 

 

 

Written by Philip Meckseper, Henry Allen, Joe Jonas, Nick Jonas, Thomas Wesley Pentz, and Ryan Tedder, “Lonely” is a single recorded by Diplo and The Jonas Brothers. The song was released in 2020 as a part of the album Diplo Presents Thomas Wesley, Chapter 1: Snake Oil.

 

 

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Table of Contents

Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  

JKBX HITS

VOL1 00058

  Love Runs Out   2014   Pop   T-914.190.918-4   Brent Kutzle, Drew Brown, Eddie Fisher, Zach Filkins, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 19,528     $ 17,592  

 

Music Asset Description

 

 

 

“Love Runs Out” was recorded by OneRepublic and released as part of the band’s 2014 reissue of their third studio album Native (2013). The song debuted at #81 on the Billboard Hot 100 and eventually reached #15.

 

JKBX HITS VOL1 00059   Love Runs Out   2014   Pop   USUM71404631   Brent Kutzle, Drew Brown, Eddie Fisher, Zach Filkins, Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 7,145     $ 6,103  

 

Music Asset Description

 

 

 

Written by band members Brent Kutzle, Drew Brown, Eddie Fisher, Zach Filkins, and Ryan Tedder, “Love Runs Out” is a pop song recorded by OneRepublic. It was first released as part of the band’s 2014 reissue of their third studio album Native (2013).

 

JKBX HITS VOL1 00060   Love Somebody   2012   Pop   T-911.798.013-9   Noel Zancanella, Nathaniel Motte, Adam Levine, Ryan Tedder  

Maroon 5

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 3,937     $ 3,490  

 

Music Asset Description

 

 

 

Released in 2013, “Love Somebody” is a pop rock song recorded by Maroon 5 for their fourth studio album Overexposed. The track debuted at #54 on the Billboard Hot 100 and reached #10. The track reached the top 10 in countries including Belgium, Canada, Iceland, Netherlands, South Korea, South Africa, the U.S. and Venezuela.

 

JKBX HITS VOL1 00061   Love Somebody   2012   Pop   USUM71204774   Noel Zancanella, Nathaniel Motte, Adam Levine, Ryan Tedder  

Maroon 5

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 1,441     $ 1,736  

 

Music Asset Description

 

 

 

 

Written by Noel Zancanella, Nathaniel Motte, Adam Levine, and Ryan Tedder, “Love Somebody” was first recorded by Maroon 5 for their fourth studio album Overexposed. The song has been covered by many artists including Alex Goot, James Maslow and others.

 

JKBX HITS VOL1 00062   Make It Hot   2019   Dance/Electronic   QMUY41900102   Boaz De Jong, Nija Charles, Justin Rafael Quiles Rivera, Robin Francesco, Larissa de Macedo Machado, Thomas Wesley Pentz  

Major Lazer, Diplo, Anitta

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 11,867     $ 6,343     $ 6,606  

 

Music Asset Description

 

 

 

Released in 2020, “Make It Hot” was recorded by electronic music trio Major Lazer with features from Diplo and Anitta. The track is from the group’s fourth studio album Music Is the Weapon.

 

JKBX HITS VOL1 00063   Maps   2014   Pop   T-914.188.769-6   Noel Zancanella, Benny Blanco, Adam Levine, Ammar Malik, Ryan Tedder  

Maroon 5

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 6,075     $ 7,135  

 

Music Asset Description

 

 

 

Released in 2014, “Maps” was recorded by Maroon 5 as their lead single for their fifth studio album, V. The track reached #1 in Canada and #1 on both Billboard’s Adult Contemporary and Adult Top 40 Charts in the U.S. The track also reached the top 20 in over 25 countries and is RIAA certified 4X platinum.

 

 

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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  
JKBX HITS VOL1 00064   Maps   2014   Pop   USUM71407116   Noel Zancanella, Benny Blanco, Adam Levine, Ammar Malik, Ryan Tedder  

Maroon 5

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 5,938     $ 7,367  

 

Music Asset Description

 

 

 

 

Written by Noel Zancanella, Benny Blanco, Adam Levine, Ammar Malik, and Ryan Tedder, “Maps” is a pop song performed and recorded by Maroon 5 as the lead single for their fifth studio album, V. The song has been covered and recorded many times by artists including Our Last Night, Kurt Hugo Schneider, Madilyn Bailey and others.

 

JKBX HITS VOL1 00065   No Vacancy   2017   Pop   T-921.962.366-2   Andrés Torres, Mauricio Rengifo, Tor Erik Hermansen, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 8,699     $ 4,748  

 

Music Asset Description

 

 

 

Written by Andrés Torres, Mauricio Rengifo, Tor Erik Hermansen, and Ryan Tedder, “No Vacancy” is a song recorded by OneRepublic. The song was first released on the band’s fourth studio album, Oh My My (2017).

 

JKBX HITS VOL1 00067   Particula   2017   Dance/Electronic   QMUY41700060   Thomas Wesley Pentz  

Major Lazer, Nasty C, DJ Maphorisa, Ice Prince, Jidenna, Patoranking

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 18,280     $ 14,279     $ 13,776  

 

Music Asset Description

 

 

 

Released in 2017, “Particula” is a dance/electronic song recorded by Major Lazer, featuring Nasty C, DJ Maphorisa, Ice Prince, Jidenna, and Patoranking. The track was released on the group’s EP Know No Better.

 

JKBX HITS VOL1 00068   Particular Taste   2018   Pop   T-925.712.589-6   Zach Skelton, Shawn Mendes, Ryan Tedder  

Shawn Mendes

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 969     $ 694  

 

MusicAsset Description

 

 

 

Written by Zach Skelton, Shawn Mendes, and Ryan Tedder, “Particular Taste” was written for Shawn’s third studio self titled album, Shawn Mendes (2018). The album was nominated for a Grammy for Best Pop Vocal Album in 2019.

 

JKBX HITS VOL1 00069   Particular Taste   2018   Pop   USUM71804958   Zach Skelton, Shawn Mendes, Ryan Tedder  

Shawn Mendes

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 2     $ 9  

 

Music Asset Description

 

 

 

Released in 2018, “Particular Taste” was recorded and performed by Shawn Mendes for Shawn’s third studio self-titled album, Shawn Mendes (2018). The album was nominated for a Grammy for Best Pop Vocal Album in 2019.

 

JKBX HITS VOL1 00070   Powerful   2015   Dance/Electronic   QMUY41500013   Clément Picard, Maxime Picard, Ilsey Juber, Fransisca Hall, Omar Riley, Thomas Wesley Pentz  

Major Lazer, Ellie Goulding, Tarrus Riley

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 68,172     $ 38,065     $ 48,381  

 

Music Asset Description

 

 

 

Released in 2015, “Powerful” is a dance/electronic song recorded by electronic trio Major Lazer and features Ellie Goulding, and Tarrus Riley. The track was released on the group’s third studio album, Peace Is the Mission. The track has been used in many ads and shows. The track is RIAA certified Gold in the U.S.

 

 

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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  
JKBX HITS VOL1 00071   Remedy   2015   Pop   T-918.072.389-1   Adele Adkins, Ryan Tedder  

Adele

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 3,369     $ 3,144  

 

Music Asset Description

 

  Written by Adele Adkins, and Ryan Tedder, “Remedy” is a song recorded by Adele for her third studio album, 25.

 

JKBX HITS VOL1 00072   Remedy   2015   Pop   GBBKS1500218   Adele Adkins, Ryan Tedder  

Adele

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 4,786     $ 2,547  

 

Music Asset Description

 

  Released in 2015, “Remedy” was recorded by Adele for her third studio album, 25.

 

JKBX HITS VOL1 00073   Rich Love   2017   Pop   T-318.835.783-3   Brent Kutzle, Espen Berg, Simen Eriksrud, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 8,432     $ 6,203  

 

Music Asset Description

 

 

 

 

Written by Brent Kutzle, Espen Berg, Simen Eriksrud, and Ryan Tedder, “Rich Love” was recorded by OneRepublic and Norwegian EDM record production trio Seeb in 2017. The OneRepublic track was released as a single and reached #15 on Billboard’s Hot Dance/Electronic Chart.

 

JKBX HITS VOL1 00075   Rumour Has It   2011   Pop   T-905.686.159-7   Adele Adkins, Ryan Tedder  

Adele

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 12,645     $ 13,185  

 

Music Asset Description

 

 

 

 

Written by Adele Adkins, and Ryan Tedder “Rumour Has It” is a single recorded by English singer-songwriter, Adele. The song was written for her second studio album, 21 (2011). The recording by Adele reached number 16 on the Billboard Hot 100 and is RIAA Certified 2X Platinum. The song has been used in various TV shows and covered by many other artists, including the cast of Glee.

 

JKBX HITS VOL1 00076   Rumour Has It   2011   Pop   GBBKS1000349   Adele Adkins, Ryan Tedder  

Adele

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 13,303     $ 8,299  

 

Music Asset Description

 

 

 

 

Released in 2011, “Rumour Has It” is a pop song performed by English singer-songwriter, Adele. The track was released on Adele’s second studio album, 21 (2011). The track reached #16 on the Billboard Hot 100 and is RIAA Certified 2X Platinum. The track reached the top 20 in countries including Belgium, Iceland, Israel, Lebanon, Poland, South Korea, and the U.S. with Platinum certifications in Brazil and Canada and Gold certifications in Australia, Italy, Mexico and the UK.

 

JKBX HITS VOL1 00077   Run Up   2014   Dance/Electronic   QMUY41600121   Philip Meckseper, Benjamin Levin, Tor Erik Hermansen, Jahron Brathwaite, Mikkel Eriksen, Onika Maraj, Thomas Wesley Pentz  

Major Lazer, Nicki Minaj, PARTYNEXTDOOR

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 30,907     $ 21,091     $ 23,140  

 

Music Asset Description

 

 

 

 

Released in 2017, “Run Up” is a dance/electronic song recorded by Major Lazer, featuring PartyNextDoor and Nicki Minaj. The track was included on the album, Major Lazer Essentials. Globally the track charted in the top 20 in multiple countries including Canada, Czech Republic, France, Hungary, Netherlands, New Zealand, Slovakia, and the U.S. with Platinum certifications in Australia, France and Italy.

 

 

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Table of Contents

Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  
JKBX HITS VOL1 00078   Secrets   2009   Pop   T-903.595.073-3   Ryan Tedder  

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 82,293     $ 50,897  

 

Music Asset Description

 

 

 

Written by Ryan Tedder, “Secrets” is a pop rock song recorded by OneRepublic. The song was released on the band’s second studio album, Waking Up (2009). The song has been featured in many different shows and films and covered by many different artists including Simply Three, Tiffany Alvord, The Piano Guys, Jayesslee and others.

 

JKBX HITS VOL1 00079   Secrets   2009   Pop   USUM70985644   Ryan Tedder  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 4,829     $ 4,893  

 

Music Asset Description

 

 

 

Released in 2009, “Secrets” was recorded by OneRepublic. It was released as the album’s second single from the band’s second studio album, Waking Up. The track reached #21 on the Billboard Hot 100 and is RIAA certified 2X Platinum.

 

JKBX HITS VOL1 00080   So Good   2012   Hip-Hop/Rap, Pop   T-911.556.615-9   Brent Kutzle, Bobby Ray Simmons, Ryan Tedder  

B.o.B

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 2,486     $ 2,054  

 

Music Asset Description

 

 

 

Written by Brent Kutzle, Bobby Ray Simmons, and Ryan Tedder, “So Good” is a pop/rap song recorded by American rapper B.o.B. The song was written for B.o.B.’s second studio album, Strange Clouds. The song has been covered by Tyler Ward and others.

 

JKBX HITS VOL1 00081   So Good   2012   Hip-Hop/Rap, Pop   USAT21200255   Brent Kutzle, Bobby Ray Simmons, Ryan Tedder  

B.o.B

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 98     $ 81  

 

Music Asset Description

 

 

 

Released in 2012, “So Good” is a pop/rap song recorded by American rapper B.o.B. for his second studio album Strange Clouds. The track reached #11 on the Billboard Hot 100 and is RIAA certified 2X Platinum. The track went #1 in the UK and has achieved Platinum status in Australia and Gold status in Canada, New Zealand and the UK.

 

JKBX HITS VOL1 00082   Something I Need   2013   Pop   T-925.425.512-4   Benny Blanco, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 9,064     $ 7,074  

 

Music Asset Description

 

 

 

Written by Benny Blanco, and Ryan Tedder, “Something I Need” is a song recorded by OneRepublic. The song was written for the band’s third studio album, Native (2013). The song has a cover version recorded and performed by Ben Haenow, winner of the 11th series of ‘The X Factor’.

 

JKBX HITS VOL1 00084   Song For Someone   2014   Rock, Pop   GBUM71404682   Bono, Larry Mullen Jr., The Edge, Adam Clayton, Ryan Tedder  

U2

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 9,446     $ 2,285  

 

Music Asset Description

 

 

 

Released in 2015, “Song For Someone” is a track recorded by the Irish rock band and Rock and Roll Hall of Fame inductee, U2. The track was released on their thirteenth studio album, Songs of Innocence.

 

JKBX HITS VOL1 00085   Stop And Stare   2007   Pop   T-072.436.104-9   Zach Filkins, Andrew Brown, Tim Myers, Ryan Tedder, Eddie Fisher  

OneRepublic

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 25,543     $ 25,532  

 

Music Asset Description

 

 

 

Written by band members Zach Filkins, Andrew Brown, Tim Myers, Ryan Tedder, and Eddie Fisher, “Stop and Stare” is recorded by OneRepublic. The song has had many recorded cover versions included by the group, Vitamin String Quartet, and others.

 

 

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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  
JKBX HITS VOL1 00086   Stop And Stare   2007   Pop   USUM70758804   Zach Filkins, Andrew Brown, Tim Myers, Ryan Tedder, Eddie Fisher  

OneRepublic

  Sound Recording - Production   Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 6,090     $ 4,107  

 

Music Asset Description

 

 

 

Released in 2007, “Stop and Stare” is a pop rock song recorded and performed by OneRepublic for their debut album, Dreaming Out Loud. The track reached #12 on the Billboard Hot 100 and #9 on Billboard’s Pop 100 chart.

 

JKBX HITS VOL1 00087   Stranger Things   2018   Dance/Electronic, Pop   T-922.987.393-2   Casey Smith, Kyrre Gørvell-Dahll, Ryan Tedder  

Kygo, OneRepublic

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 1,854     $ 1,652  

 

Music Asset Description

 

 

 

Written by Casey Smith, Kyrre Gørvell-Dahll, and Ryan Tedder, “Stranger Things” is an EDM pop song recorded by Norwegian DJ and record producer Kygo featuring OneRepublic. The song was released in 2018 on the album Kids In Love.

 

JKBX HITS VOL1 00088   Sua Cara   2017   Dance/Electronic   QMUY41700062   Boaz De Jong, Larissa de Macedo Machado, Arthur Magno Simoes Marques, Giordan Ashurf, Jefferson Junior, Pablo Luiz Bispo, Rashid Badloe, Rodrigo Pereira Vilela Antunes, Shareef Badloe, Umberto Tavares, Thomas Wesley Pentz  

Major Lazer, Anitta, Pabllo Vittar

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 14,237     $ 17,321     $ 33,204  

 

Music Asset Description

 

 

 

Released in 2017, “Sua Cara” (transl. Your Face) is a track by electronic trio Major Lazer from their fourth EP, Know No Better (2017). The track features Brazilian singers Anitta and Pabllo Vittar and was nominated for a Grammy at the Latin Grammy awards in 2018.

 

JKBX HITS VOL1 00089   Sucker   2019   Pop   T-912.839.114-0   Joe Jonas, Nick Jonas, Frank Dukes, Louis Bell, Homer Steinweiss, Kevin Jonas, Mustafa Ahmed, Ryan Tedder  

Jonas Brothers

  Composition - Songwriter   Mechanical, Public Performance, Sync, Other   Life of Copyright   Coda   Worldwide     N/A     $ 114,695     $ 80,737  

 

Music Asset Description

 

 

 

Written by band members, Joe Jonas, Nick Jonas, Kevin Jonas as well as Frank Dukes, Louis Bell, Homer Steinweiss, Mustafa Ahmed, and Ryan Tedder, “Sucker” was released by The Jonas Brothers’ in 2019. It was their first release in 6 years, and the first single for their fifth studio album, Happiness Begins. The song has been performed and covered by many artists, including First To Eleven, Kylie Cantrall, Jared Dines, Boyce Avenue, Halsey and others.

 

 

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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  
JKBX HITS VOL1 00090   Sucker   2019   Pop   USUG11900515   Joe Jonas, Nick Jonas, Frank Dukes, Louis Bell, Homer Steinweiss, Kevin Jonas, Mustafa Ahmed, Ryan Tedder  

Jonas Brothers

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 13,524     $ 12,636  

 

Music Asset Description

 

 

 

Released in 2019 as a comeback single from The Jonas Brothers, “Sucker” was the band’s first release in 6 years after a hiatus. It was the first single from the album, Happiness Begins. The recording won many awards including Best Pop Music Video at the MTV Music Awards, Song Of The Year at the ASCAP Music Awards, Best Radio Song at the Billboard Music Awards, Most Performed Song of the Year at the BMI Pop Awards, and a Titanium Award at the iHeartRadio Music Awards. The recording was also nominated for a Grammy in 2020 and became the brothers’ biggest hit single to date, reaching number one in several countries, including the U.S. (on the Billboard Hot 100). The track is RIAA certified 5X Platinum. The song has also achieved Platinum status in countries including Australia, Belgium, Canada, Denmark, Germany, Italy, Mexico, New Zealand, Poland, Portugal, Spain and the UK.

 

JKBX HITS VOL1 00091   Titans   2018   Dance/Electronic   QMUY42100008   Philip Meckseper, Boaz De Jong, Sia Furler, Johnny Goldstein, Timothy Mckenzie, Thomas Wesley Pentz  

Major Lazer, Sia, Labrinth, Diplo

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 27,520     $ 21,261  

 

Music Asset Description

 

 

 

Released in 2020, “Titans” is a track recorded by electronic music trio, Major Lazer featuring Sia, Labrinth, and Diplo. The track is from Major Lazer’s fourth studio album, Music Is the Weapon.

 

JKBX HITS VOL1 00093   Turning Tables   2011   Pop   T-905.686.160-0   Adele Adkins, Chris Elliott, Ryan Tedder  

Adele

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 8,261     $ 7,017  

 

Music Asset Description

 

 

 

Written by Adele Adkins, Chris Elliott, and Ryan Tedder, “Turning Tables” was recorded by English singer songwriter Adele in 2010. The song was written for her second studio album, 21 which saw its release in 2011. Adele’s recording reached the top 20 of the singles charts in four countries. The song has been covered by many artists including actress and singer Gwyneth Paltrow with the cast of Glee, Peter Hollens and others.

 

JKBX HITS VOL1 00094   Watch Out For This (Bumaye)   2013   Dance/Electronic   US38W1229208   Reanno Gordon, Rubén Blades, Thomas Goethals, Thomas Wesley Pentz  

Major Lazer, Busy Signal, The Flexican, FS Green

  Sound Recording - Master   Sales, Sync, Other, Digital Performance   Life of Copyright   Coda   Worldwide   $ 28,545     $ 19,197     $ 25,055  

 

Music Asset Description

 

 

 

Released in 2013, “Watch Out For This (Bumaye)” is a track by Major Lazer featuring Busy Signal, The Flexican, and FS Green. The track is from Major Lazer’s second studio album, Free The Universe. It reached the top 20 of the singles charts in 7 countries.

 

 

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Corresponding
Series

 

Song Title

 

Release
Date

 

Genre

 

ISRC/ISWC

 

Songwriter

 

Recording
Artist

 

Rights Type

 

Income
Interest Type

 

Term

 

Income
Interest
Owner

 

Region

  Historical Royalties  
  2020     2021     2022  
JKBX HITS VOL1 00095   Welcome To New York   2014   Pop   USCJY1431299   Taylor Swift, Ryan Tedder  

Taylor Swift

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 1,415     $ 1,759  

 

Music Asset Description

 

 

 

First released in 2014, “Welcome To New York” was recorded by American singer-songwriter Taylor Swift. The recording was released as a promotional single for her fifth studio album, 1989, in 2014. The track subsequently reached #48 on the Billboard Hot 100 and is RIAA certified Platinum.

 

JKBX HITS VOL1 00096   Wherever I Go   2016   Pop   T-919.126.860-7   Noel Zancanella, Brent Kutzle, Ryan Tedder  

OneRepublic

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 5,957     $ 8,183  

 

Music Asset Description

 

 

 

Written by band members Noel Zancanella, Brent Kutzle, and Ryan Tedder, “Wherever I Go” was recorded by OneRepublic for the band’s 2016 album, Oh My My. It was the lead single from that album and the song has been covered by other artists including 2CELLOS. The OneRepublic release of “Wherever I Go” as a single reached the top 20 on singles charts in 8 countries including the U.S.

 

JKBX HITS VOL1 00098   Wings   2013   Pop   T-909.965.093-8   Chrishan, Jasmine Van Den Bogaerde, Ryan Tedder  

Birdy

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 8,224     $ 8,563  

 

Music Asset Description

 

 

Written by Jasmine Van Den Bogaerde, Ryan Tedder and Chrishan, “Wings” was recorded by Birdy for her second studio album, Fire Within (2013).

 

JKBX HITS VOL1 00099   Wings   2013   Pop   GBAHS1300286   Chrishan, Jasmine Van Den Bogaerde, Ryan Tedder  

Birdy

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 2,086     $ 2,309  

 

Music Asset Description

 

 

 

Released in 2013, “Wings” was recorded by English musician Birdy as the lead single on her second studio album, Fire Within. The track reached #8 on the UK Singles chart, and is BPI certified 2X Platinum.

 

JKBX HITS VOL1 00100   XO   2013   Pop, R&B   T-915.679.572-1   Beyoncé Knowles, Terius Nash, Ryan Tedder  

Beyoncé

  Composition - Songwriter   Public Performance   Life of Copyright   Coda   Worldwide     N/A     $ 3,928     $ 3,746  

 

Music Asset Description

 

 

 

Written by Beyoncé Knowles, Terius Nash, and Ryan Tedder, “XO” is a Pop and R&B song written and recorded for Beyoncé‘s self-titled fifth studio album, BEYONCÉ (2013). “XO” has been covered by many artists including a notable cover version by John Mayer. “XO” was nominated in the category for Best Song at the 2014 World Music Awards.

 

JKBX HITS VOL1 00101   XO   2013   Pop, R&B   USSM11307807   Beyoncé Knowles, Terius Nash, Ryan Tedder  

Beyoncé

  Sound Recording - Production   Royalty Participant , Neighboring Rights, Digital Performance   Life of Copyright   Coda   Worldwide     N/A     $ 1,303     $ 1,220  

 

Music Asset Description

 

 

 

Released in 2013, “XO” is a Pop and R&B song recorded by Beyoncé for her self-titled fifth studio album BEYONCÉ. “XO” reached #45 on the Billboard Hot 100 and is RIAA certified 2X Platinum. The track also reached Platinum status in Australia and Canada and Gold status in the UK. “XO” was nominated for Best Song at the 2014 World Music Awards.

 

 

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Songwriter and Recording Artist Biographical Information

The Compositions and Recordings presented in the “Composition and Recording Rights” table were written and recorded by various songwriters and recording artists. Selected biographical information for the primary songwriters and recording artists is presented below:

 

   

American Authors: American Authors are a Brooklyn-based band known for, among other works, the single “Best Day Of My Life.”

 

   

Ryan Tedder: Ryan Tedder is an American singer, songwriter, and record producer. He is the frontman and vocalist for the band OneRepublic.

 

   

Third Pardee Records: Third Pardee Records is a record label founded by Diplo in 2013 that specializes in electronic music.

 

   

Adele: Adele is a Grammy award winning English singer-songwriter.

 

   

B.o.B.: B.o.B. is an American rapper and record producer.

 

   

Beyonce: Beyonce is one of music’s top-selling artists and a prolific performer.

 

   

Birdy: Birdy is a singer-songwriter known for her melancholy pop.

 

   

Colbie Caillat: Colbie Caillat is an American singer-songwriter who rose to fame through MySpace.

 

   

Jonas Brothers: The Jonas Brothers are an American pop rock band formed in 2005 consisting of three brothers: Kevin, Joe and Nick.

 

   

Diplo: Diplo’s given name is Thomas Wesley Pentz and he is an American DJ and producer.

 

   

Ed Sheeran: Ed Sheeran is an English singer-songwriter.

 

   

Ella Henderson: Ella Henderson is an English singer-songwriter who creates electro-pop works.

 

   

Ellie Goulding: Ellie Goulding is an English pop vocalist.

 

   

James Blunt: James Blunt is an English performer known for his single “You’re Beautiful.”

 

   

Kelly Clarkson: Kelly Clarkson is an American singer-songwriter, author, television personality, and the first winner of the television show American Idol in 2002.

 

   

Kygo: Kygo is a Norwegian DJ and producer.

 

   

Leona Lewis: Leona Lewis is an English singer, songwriter and actress.

 

   

Major Lazer: Major Lazer is a Jamaican-American DJ trio which includes Diplo, Walshy Fire, and Ape Drums.

 

   

Maroon 5: Maroon 5 is an American pop rock band from California.

 

   

OneRepublic: OneRepublic is an American pop rock band from Colorado. Its members include Ryan Tedder, Zach Filkins, Drew Brown, Brent Kutzle, Eddie Fisher and Brian Willet.

 

   

Shawn Mendes: Shawn Mendes is a Canadian singer-songwriter.

 

   

Stevie Wonder: Stevie Wonder is an American singer-songwriter, musician and record producer who is a pioneer in the music industry and is one of the world’s best-selling artists of all time.

 

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Taylor Swift: Taylor Swift is an American singer-songwriter and performer. She is a popular singer-songwriter and is the most streamed female artist on Spotify.

 

   

U2: U2 is an Irish rock band formed in 1976. They have won 22 Grammy awards.

 

   

Zedd: Zedd is a German DJ, producer and songwriter.

Streaming Information

The below table presents the number of times a Recording or a notable recording of a Composition has been played or streamed on various music streaming platforms since its original release as of September 22, 2023 as sourced from chartmetric.com:

 

          Streaming Platforms (millions of streams)  

Song Title

  

Recording

Artist

   Spotify      YouTube      Pandora      Sirius XM      SoundCloud  

All My Love

   Major Lazer, Ariana Grande      1,800        248        642        N/A        30  

All The Right Moves

   OneRepublic      153        188        513        N/A        1  

Already Gone

   Kelly Clarkson      63        90        208        N/A        N/A  

Apologize

   OneRepublic      695        131        924        N/A        N/A  

Be Together

   Major Lazer, Wild Belle      0.8        0.8        0.1        N/A        N/A  

Best Day Of My Life

   American Authors      870        323        589        N/A        N/A  

Bleeding Love

   Leona Lewis      765        78        548        N/A        0.478  

Blow That Smoke

   Major Lazer, Tove Lo      64        75        1.6        N/A        N/A  

Bonfire Heart

   James Blunt      226        0.517        N/A        N/A        0.648  

Brighter Than The Sun

   Colbie Caillat      122        27        60        N/A        N/A  

Bubble Butt

   Major Lazer, Bruno Mars, Tyga, Mystic      55        24        62        N/A        N/A  

Burn

   Ellie Goulding      696        1,700        359        N/A        31  

Buscando Huellas

   Major Lazer, J Balvin, Sean Paul      95        50        1        N/A        N/A  

Connection

   OneRepublic      187        55        33        N/A        0.5  

Counting Stars

   OneRepublic      2,100        313        1,400        N/A        18  

Diplomatico

   Major Lazer, Guaynaa, Diplo      23        18        0.5        N/A        0.3  

Every Breaking Wave

   U2      80        30        3.1        N/A        0.2  

Everybody Loves Me

   OneRepublic      56        23        6.6        N/A        N/A  

Faith

   Stevie Wonder      90        66        9.1        N/A        0.1  

Feel Again

   OneRepublic      107        92        N/A        N/A        N/A  

Get Free

   Major Lazer, Amber Coffman      179        7.2        9.5        N/A        0.1  

Ghost

   Ella Henderson      389        162        106        N/A        0.5  

Good Life

   OneRepublic      358        229        636        N/A        1.1  

Halo

   Beyoncé      1,400        279        633        N/A        2.2  

Happier

   Ed Sheeran      1,200        678        165        N/A        1.4  

I Lived

   OneRepublic      406        107        N/A        N/A        0.5  

I Want You To Know

   Zedd      323        309        108        N/A        0.3  

If I Lose Myself

   OneRepublic      332        114        81        N/A        20  

Kids

   OneRepublic      12        7.2        0.038        N/A        N/A  

Know No Better

   Major Lazer, Travis Scott, Camila Cabello, Quavo      414        95        32        N/A        17  

Lean On

   Major Lazer, MØ, DJ Snake      11        N/A        2.5        N/A        N/A  

Let’s Hurt Tonight

   OneRepublic      136        141        8.1        N/A        N/A  

Light It Up

   Major Lazer, Nyla      1,200        589        114        N/A        0.3  

Lonely

   Diplo, Jonas Brothers      240        14        10        N/A        0.3  

Love Runs Out

   OneRepublic      284        6.3        317        N/A        N/A  

Love Somebody

   Maroon 5      225        166        331        N/A        N/A  

Make It Hot

   Major Lazer, Diplo, Anitta      42        22        0.3        N/A        0.6  

Maps

   Maroon 5      1,400        892        484        N/A        15  

No Vacancy

   OneRepublic      209        45        3.4        N/A        N/A  

Particula

   Major Lazer, Nasty C, DJ Maphorisa, Ice Prince, Jidenna, Patoranking      97        104        11        N/A        5.5  

Particular Taste

   Shawn Mendes      80        7.7        1.9        N/A        N/A  

Powerful

   Major Lazer, Ellie Goulding, Tarrus Riley      285        3.1        55        N/A        N/A  

Remedy

   Adele      232        16        141        N/A        N/A  

Rich Love

   OneRepublic      308        87        11        N/A        N/A  

Rumour Has It

   Adele      297        32        418        N/A        N/A  

Run Up

   Major Lazer, Nicki Minaj, PARTYNEXTDOOR      328        9.2        17.7        N/A        N/A  

Secrets

   OneRepublic      546        308        1,100        N/A        0.678  

So Good

   B.o.B      181        62        N/A        N/A        N/A  

Something I Need

   OneRepublic      134        68        112        N/A        N/A  

Song For Someone

   U2      63        39        1.9        N/A        N/A  

Stop And Stare

   OneRepublic      157        98        651        N/A        0.6  

Stranger Things

   Kygo, OneRepublic      77        8.3        0.1        N/A        N/A  

Sua Cara

   Major Lazer, Anitta, Pabllo Vittar      198        649        1.9        N/A        N/A  

Sucker

   Jonas Brothers      1,300        614        263        N/A        1.3  

Titans

   Major Lazer, Sia, Labrinth, Diplo      65        7.5        0.5        N/A        0.2  

Turning Tables

   Adele      367        219        332        N/A        N/A  

Watch Out For This (Bumaye)

   Major Lazer, Busy Signal, The Flexican, FS Green      288        289        6.9        N/A        N/A  

Welcome To New York

   Taylor Swift      218        16        37        N/A        N/A  

Wherever I Go

   OneRepublic      438        129        35        N/A        N/A  

Wings

   Birdy      258        212        12        N/A        0.2  

XO

   Beyoncé      351        195        90        N/A        N/A  

 

64


Table of Contents

ROYALTY SHARES OFFERING TABLE

 

Royalty Shares Offered
by the Company(1)

 

Song Title

 

Rights Type

  Offering Price
per Royalty
Share
    Number
of Royalty
Shares
    Maximum
Offering
Proceeds(2)
    Maximum
Acquisition
Costs(2)(3)
    Trailing
Yield(4)
 

JKBX HITS VOL1 00005

  All My Love   Sound Recording - Master   $ 2.23       100,000     $ 223,000.00     $ 199,713.86       3.70

JKBX HITS VOL1 00006

  All The Right Moves   Composition - Songwriter   $ 9.05       100,000     $ 905,000.00     $ 809,595.36       3.99

JKBX HITS VOL1 00007

  All The Right Moves   Sound Recording - Production   $ 1.65       100,000     $ 165,000.00     $ 147,602.26       3.81

JKBX HITS VOL1 00008

  Already Gone   Composition - Songwriter   $ 1.65       80,000     $ 132,000.00     $ 118,321.04       3.58

JKBX HITS VOL1 00010

  Apologize   Composition - Songwriter   $ 30.95       120,000     $ 3,714,000.00     $ 3,323,635.09       3.58

JKBX HITS VOL1 00011

  Apologize   Sound Recording - Production   $ 2.16       100,000     $ 216,000.00     $ 193,699.33       3.27

JKBX HITS VOL1 00012

  Be Together   Sound Recording - Master   $ 4.49       100,000     $ 449,000.00     $ 401,763.32       3.18

JKBX HITS VOL1 00013

  Best Day Of My Life   Composition - Songwriter   $ 8.01       100,000     $ 801,000.00     $ 716,683.06       5.68

JKBX HITS VOL1 00014

  Bleeding Love   Composition - Songwriter   $ 10.26       100,000     $ 1,026,000.00     $ 918,520.36       3.58

JKBX HITS VOL1 00015

  Bleeding Love   Sound Recording - Production   $ 1.98       100,000     $ 198,000.00     $ 177,546.32       3.34

JKBX HITS VOL1 00016

  Blow That Smoke   Sound Recording - Master   $ 2.79       100,000     $ 279,000.00     $ 249,780.49       2.08

JKBX HITS VOL1 00017

  Bonfire Heart   Composition - Songwriter   $ 2.06       100,000     $ 206,000.00     $ 184,005.28       3.50

JKBX HITS VOL1 00019

  Brighter Than The Sun   Composition - Songwriter   $ 1.70       60,000     $ 102,000.00     $ 91,580.32       3.25

JKBX HITS VOL1 00020

  Brighter Than The Sun   Sound Recording - Production   $ 55.00       1,000     $ 55,000.00     $ 48,946.28       5.53

JKBX HITS VOL1 00021

  Bubble Butt   Sound Recording - Master   $ 5.90       100,000     $ 590,000.00     $ 527,887.88       2.06

JKBX HITS VOL1 00022

  Burn   Composition - Songwriter   $ 8.60       100,000     $ 860,000.00     $ 769,477.47       3.62

JKBX HITS VOL1 00023

  Burn   Sound Recording - Production   $ 10.00       100     $ 1,000.00     $ 707.21       1.76

JKBX HITS VOL1 00024

  Buscando Huellas   Sound Recording - Master   $ 1.92       100,000     $ 192,000.00     $ 172,113.50       4.69

JKBX HITS VOL1 00026

  Connection   Sound Recording - Production   $ 2.02       50,000     $ 101,000.00     $ 90,426.24       1.69

JKBX HITS VOL1 00027

  Counting Stars   Composition - Songwriter   $ 31.37       200,000     $ 6,274,000.00     $ 5,617,677.66       4.17

JKBX HITS VOL1 00028

  Counting Stars   Sound Recording - Production   $ 3.23       100,000     $ 323,000.00     $ 289,281.90       2.36

JKBX HITS VOL1 00030

  Diplomatico   Sound Recording - Master   $ 3.47       100,000     $ 347,000.00     $ 310,435.74       3.22

JKBX HITS VOL1 00031

  Every Breaking Wave   Sound Recording - Production   $ 1.80       60,000     $ 108,000.00     $ 97,244.98       1.46

JKBX HITS VOL1 00032

  Everybody Loves Me   Composition - Songwriter   $ 3.09       100,000     $ 309,000.00     $ 276,170.17       3.35

JKBX HITS VOL1 00033

  Everybody Loves Me   Sound Recording - Production   $ 16.00       25     $ 400.00     $ 389.19       3.52

JKBX HITS VOL1 00034

  Faith   Sound Recording - Production   $ 24.00       1,000     $ 24,000.00     $ 21,640.95       3.42

JKBX HITS VOL1 00035

  Feel Again   Composition - Songwriter   $ 1.50       70,000     $ 105,000.00     $ 94,293.84       3.01

JKBX HITS VOL1 00037

  Get Free   Sound Recording - Master   $ 6.42       100,000     $ 642,000.00     $ 574,965.39       3.55

JKBX HITS VOL1 00038

  Ghost   Composition - Songwriter   $ 3.34       100,000     $ 334,000.00     $ 298,984.11       3.67

JKBX HITS VOL1 00039

  Ghost   Sound Recording - Production   $ 31.43       1,400     $ 44,000.00     $ 39,152.66       3.96

JKBX HITS VOL1 00040

  Good Life   Composition - Songwriter   $ 2.89       100,000     $ 289,000.00     $ 258,208.91       3.53

JKBX HITS VOL1 00041

  Good Life   Sound Recording - Production   $ 1.55       60,000     $ 93,000.00     $ 83,373.42       4.78

JKBX HITS VOL1 00042

  Halo   Composition - Songwriter   $ 14.51       100,000     $ 1,451,000.00     $ 1,298,824.91       3.45

JKBX HITS VOL1 00043

  Halo   Sound Recording - Production   $ 6.78       100,000     $ 678,000.00     $ 606,669.80       3.08

JKBX HITS VOL1 00044

  Happier   Composition - Songwriter   $ 13.09       100,000     $ 1,309,000.00     $ 1,171,412.73       3.17

JKBX HITS VOL1 00045

  I Lived   Composition - Songwriter   $ 5.03       100,000     $ 503,000.00     $ 450,512.31       4.82

JKBX HITS VOL1 00046

  I Lived   Sound Recording - Production   $ 1.79       100,000     $ 179,000.00     $ 160,397.83       3.05

JKBX HITS VOL1 00047

  I Want You To Know   Composition - Songwriter   $ 1.98       100,000     $ 198,000.00     $ 177,033.75       3.06

JKBX HITS VOL1 00049

  If I Lose Myself   Composition - Songwriter   $ 9.76       100,000     $ 976,000.00     $ 873,174.70       3.54

JKBX HITS VOL1 00050

  If I Lose Myself   Sound Recording - Production   $ 1.84       50,000     $ 92,000.00     $ 82,526.05       2.87

JKBX HITS VOL1 00051

  Kids   Composition - Songwriter   $ 3.21       100,000     $ 321,000.00     $ 287,079.77       3.41

JKBX HITS VOL1 00053

  Know No Better   Sound Recording - Master   $ 10.43       100,000     $ 1,043,000.00     $ 933,056.14       2.93

JKBX HITS VOL1 00054

  Lean On   Sound Recording - Master   $ 24.47       200,000     $ 4,894,000.00     $ 4,381,032.77       3.60

JKBX HITS VOL1 00055

  Let’s Hurt Tonight   Composition - Songwriter   $ 1.45       80,000     $ 116,000.00     $ 104,690.84       2.85

JKBX HITS VOL1 00056

  Light It Up   Sound Recording - Master   $ 22.49       100,000     $ 2,249,000.00     $ 2,013,120.12       3.40

JKBX HITS VOL1 00057

  Lonely   Composition - Songwriter   $ 2.44       50,000     $ 122,000.00     $ 109,084.45       2.71

JKBX HITS VOL1 00058

  Love Runs Out   Composition - Songwriter   $ 5.27       100,000     $ 527,000.00     $ 471,423.03       3.34

JKBX HITS VOL1 00059

  Love Runs Out   Sound Recording - Production   $ 1.88       100,000     $ 188,000.00     $ 168,253.26       3.25

JKBX HITS VOL1 00060

  Love Somebody   Composition - Songwriter   $ 1.50       70,000     $ 105,000.00     $ 94,321.66       3.32

JKBX HITS VOL1 00061

  Love Somebody   Sound Recording - Production   $ 37.50       1,200     $ 45,000.00     $ 40,341.80       3.86

JKBX HITS VOL1 00062

  Make It Hot   Sound Recording - Master   $ 2.35       100,000     $ 235,000.00     $ 210,107.34       2.81

JKBX HITS VOL1 00063

  Maps   Composition - Songwriter   $ 1.87       100,000     $ 187,000.00     $ 167,773.65       3.82

JKBX HITS VOL1 00064

  Maps   Sound Recording - Production   $ 1.89       100,000     $ 189,000.00     $ 168,973.58       3.90

JKBX HITS VOL1 00065

  No Vacancy   Composition - Songwriter   $ 1.91       100,000     $ 191,000.00     $ 170,774.83       2.49

JKBX HITS VOL1 00067

  Particula   Sound Recording - Master   $ 4.38       100,000     $ 438,000.00     $ 392,302.95       3.15

JKBX HITS VOL1 00068

  Particular Taste   Composition - Songwriter   $ 24.00       1,000     $ 24,000.00     $ 21,126.72       2.89

JKBX HITS VOL1 00069

  Particular Taste   Sound Recording - Production   $ 50.00       3     $ 150.00     $ 138.69       5.81

JKBX HITS VOL1 00070

  Powerful   Sound Recording - Master   $ 14.63       100,000     $ 1,463,000.00     $ 1,309,098.71       3.31

JKBX HITS VOL1 00071

  Remedy   Composition - Songwriter   $ 1.84       50,000     $ 92,000.00     $ 82,712.24       3.42

JKBX HITS VOL1 00072

  Remedy   Sound Recording - Production   $ 2.08       50,000     $ 104,000.00     $ 93,132.60       2.45

JKBX HITS VOL1 00073

  Rich Love   Composition - Songwriter   $ 2.08       100,000     $ 208,000.00     $ 185,866.77       2.98

JKBX HITS VOL1 00075

  Rumour Has It   Composition - Songwriter   $ 3.67       100,000     $ 367,000.00     $ 328,039.06       3.59

JKBX HITS VOL1 00076

  Rumour Has It   Sound Recording - Production   $ 3.07       100,000     $ 307,000.00     $ 274,349.84       2.70

JKBX HITS VOL1 00077

  Run Up   Sound Recording - Master   $ 7.11       100,000     $ 711,000.00     $ 636,163.23       3.25

JKBX HITS VOL1 00078

  Secrets   Composition - Songwriter   $ 18.90       100,000     $ 1,890,000.00     $ 1,691,514.98       2.69

JKBX HITS VOL1 00079

  Secrets   Sound Recording - Production   $ 1.84       75,000     $ 138,000.00     $ 123,477.20       3.55

JKBX HITS VOL1 00080

  So Good   Composition - Songwriter   $ 1.60       40,000     $ 64,000.00     $ 57,657.53       3.21

JKBX HITS VOL1 00081

  So Good   Sound Recording - Production   $ 30.00       100     $ 3,000.00     $ 2,275.66       2.72

JKBX HITS VOL1 00082

  Something I Need   Composition - Songwriter   $ 2.29       100,000     $ 229,000.00     $ 204,950.19       3.09

JKBX HITS VOL1 00084

  Song For Someone   Sound Recording - Production   $ 1.66       100,000     $ 166,000.00     $ 148,983.99       1.38

JKBX HITS VOL1 00085

  Stop And Stare   Composition - Songwriter   $ 7.25       100,000     $ 725,000.00     $ 648,663.40       3.52

JKBX HITS VOL1 00086

  Stop And Stare   Sound Recording - Production   $ 1.45       100,000     $ 145,000.00     $ 129,492.03       2.83

JKBX HITS VOL1 00087

  Stranger Things   Composition - Songwriter   $ 25.00       2,000     $ 50,000     $ 44,529.83       3.30

JKBX HITS VOL1 00088

  Sua Cara   Sound Recording - Master   $ 6.13       100,000     $ 613,000.00     $ 548,316.59       5.42

JKBX HITS VOL1 00089

  Sucker   Composition - Songwriter   $ 27.73       100,000     $ 2,773,000.00     $ 2,481,986.70       2.91

JKBX HITS VOL1 00090

  Sucker   Sound Recording - Production   $ 3.71       100,000     $ 371,000.00     $ 332,230.39       3.41

JKBX HITS VOL1 00091

  Titans   Sound Recording - Master   $ 6.92       100,000     $ 692,000.00     $ 619,516.40       3.07

JKBX HITS VOL1 00093

  Turning Tables   Composition - Songwriter   $ 2.17       100,000     $ 217,000.00     $ 194,031.57       3.23

JKBX HITS VOL1 00094

  Watch Out For This (Bumaye)   Sound Recording - Master   $ 6.89       100,000     $ 689,000.00     $ 616,344.87       3.64

JKBX HITS VOL1 00095

  Welcome To New York   Sound Recording - Production   $ 45.00       1,000     $ 45,000.00     $ 40,320.10       3.91

JKBX HITS VOL1 00096

  Wherever I Go   Composition - Songwriter   $ 2.01       100,000     $ 201,000.00     $ 179,585.76       4.07

JKBX HITS VOL1 00098

  Wings   Composition - Songwriter   $ 2.38       100,000     $ 238,000.00     $ 213,200.25       3.60

JKBX HITS VOL1 00099

  Wings   Sound Recording - Production   $ 31.00       2,000     $ 62,000.00     $ 55,808.06       3.72

JKBX HITS VOL1 00100

  XO   Composition - Songwriter   $ 2.18       50,000     $ 109,000.00     $ 97,455.23       3.44

JKBX HITS VOL1 00101

  XO   Sound Recording - Production   $ 36.00       1,000     $ 36,000.00     $ 32,041.89       3.39

 

(1)

The Coda Purchase Agreement was not negotiated at arm’s length.

(2)

Assumes that the maximum offering proceeds are received for each series of Royalty Shares offered hereby.

(3)

Maximum Acquisition Costs is the maximum acquisition cost of the Income Interests relating to each Music Asset available for purchase pursuant to the applicable Purchase Agreement. This is the amount in cash that the Company will pay an Income Interest Owner to acquire the Income Interests that correspond to each series of Royalty Shares and will be paid from the proceeds of the Offering of such series of Royalty Shares. For each Royalty Share sold, the Company will acquire a pro rata portion of the corresponding Income Interests available for purchase. For example, if a maximum of 1,000 Royalty Shares of a particular series are offered and the Company sells 500 of such Royalty Shares, the Company shall acquire fifty percent (50%) of the total Income Interests available for purchase and will therefore pay fifty percent (50%) of the maximum acquisition costs. See “Description of the Music Assets Underlying the Royalty Shares—Coda Purchase Agreement.”

(4)

Trailing yield per series is calculated by dividing (a) the total historical royalties for 2022 for the total Income Interests available for purchase that correspond to the series of Royalty Shares by (b) the maximum offering proceeds for such series. As described in “Description of the Music Assets Underlying the Royalty Shares—Composition and Recording Rights Table,” historical royalties are presented and used in the calculation of trailing yield without the deduction of the Royalty Fee. For example, the trailing yield for JKBX HITS VOL1 00005 (“All My Love”) of 3.70% is calculated by dividing $8,247, which is the historical royalties for 2022, by $223,000, which is the maximum offering proceeds for such series. Please see the “Composition and Recording Rights” table beginning on page 48 which presents the historical royalties for 2022 for each series of Royalty Shares and its related Composition or Recording, among other information. Trailing yield per series is based on historical information and is not indicative of future results. There is no guarantee that the trailing yield for a series of Royalty Shares will be realized for any particular holding period. See “Risk Factors—Royalty Rights and Income Interests are subject to risks relating to the music industry and such risks may reduce or eliminate the royalties, fees and other income streams that would otherwise accrue with respect to a song.”

 

65


Table of Contents

INTEREST OF MANAGEMENT AND OTHERS IN CERTAIN TRANSACTIONS

We are subject to various conflicts of interest arising out of our relationship with the Manager and its affiliates. We discuss these conflicts below.

General

The Manager is managed by its sole member, Jukebox Holding, pursuant to an administrative services agreement. The persons providing key services to the Manager are also officers and/or key professionals of Jukebox Holding and other Jukebox Holding affiliated entities. These persons have legal obligations with respect to those entities that are similar to their obligations to us. In the future, these persons and other affiliates of Jukebox Holding may organize other Royalty Share arrangements and acquire for their own account Royalty Rights that may be suitable for us.

In general, the Company has not established formal procedures to resolve conflicts of interest. Consequently, Holders may be dependent on the good faith of the respective parties subject to such conflicts to resolve them equitably. Although the Company attempts to monitor these conflicts, it is not able to ensure that any potential conflict will not, in fact, result in adverse consequences to the Company.

Jukebox Holding

Jukebox Holding is the sole member and parent company of the Manager and Jukebox Technology.

In addition, Jukebox Holding or an affiliate thereof may in the future seek to operate an SEC- and FINRA-registered broker-dealer and/or to facilitate secondary sales of Royalty Shares on an SEC-compliant alternative trading system owned and operated by that broker-dealer enabling it to earn broker-dealer related fees on the either or both of the issuance and/or trading of Royalty Shares or it may seek to earn administrative or other fees or recoup its costs associated with making a trading market available or other services. The operation of a trading market in the Royalty Shares by Jukebox Holding or an affiliate thereof or the receipt of trading or administrative fees would create conflicts of interest, including if such activities generate profits.

The Manager

The Manager may own and/or provide similar or overlapping services to other entities, including other Jukebox Holding affiliated entities involved in similar business pursuits, and has a conflict of interest in allocating its own limited resources among us and any different entities and potential future business ventures it may have. We rely on the Manager for the services identified in the Operating Agreement and we reimburse the Manager for costs and expenses it incurs on our behalf that may not have been determined on an arms’ length basis. Additionally, the professional staff of the Manager may also service affiliated entities engaged in similar business pursuits as us, including other affiliates of the Company, the Manager and Jukebox Holding. Although the Manager and its professional staff cannot and will not devote all of its or their respective time or resources to the management of the affairs of the Company, the Manager intends to devote, and to cause its professional staff to devote, sufficient time and resources to manage the business and affairs of the Company.

The Manager has discretion to incur costs and expenses on our behalf. We rely on the Manager to exercise its discretion in incurring such costs and expenses and to act in our best interests when doing so. Some costs and expenses may be incurred by affiliates of the Manager and charged to the Manager but ultimately reimbursed to the Manager by the Company and these may not be negotiated at arm’s length. This discretion could influence the Manager’s decisions in carrying out the services identified in the Operating Agreement and, among other matters, this arrangement could affect the Manager’s judgment with respect to:

 

   

the continuation, renewal or enforcement of provisions in the Operating Agreement involving the Manager;

 

   

the creation of subsequent issuers of securities similar to the Royalty Shares that the Manager will also own and/or manage;

 

   

offerings of securities by the Company or other affiliates, which will likely entitle the Manager to further reimbursements and costs incurred by third parties, including affiliates, that are not negotiated at arm’s length; and

 

   

whether and when we seek to facilitate quotations of Royalty Shares on an ATS or listing on other trading market.

 

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Jukebox Technology

Jukebox Technology is a wholly-owned subsidiary of Jukebox Holding and an affiliate of the Company.

The Company will enter into a platform access agreement with Jukebox Technology and the Manager to provide non-exclusive access rights to the JKBX Platform and associated intellectual property.

Subscription Agreement

The Subscription Agreement contains provisions that limit remedies available to the Holders against the Company and remedies available to the Company and the Holder against the Manager and its affiliates and us for actions that might otherwise constitute a breach of duty. Our Operating Agreement contains provisions limiting the liability of the Manager and its affiliates which also reduces remedies available to investors for certain acts by such person or entity.

Coda Purchase Agreement

John Chapman is a director on the board of directors of Jukebox Holding and is also the sole owner and principal of Inkling Capital LLC, which is the sole member of Coda Songs LLC. In connection with the Offering, Jukebox Holding has entered into a Purchase Agreement with Coda Songs LLC pursuant to which Coda Songs LLC has agreed to make a portion of its Income Interests in certain Compositions and Recordings available for purchase by the Company and the Company will have an option (but not an obligation) to acquire some or all of such portion of his Income Interests in accordance with the terms and conditions of the Coda Purchase Agreement. The Coda Purchase Agreement was not negotiated between the parties at arm’s length. See “Description of the Music Assets Underlying the Royalty Shares” for more details.

 

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MATERIAL U.S. FEDERAL INCOME TAX CONSIDERATIONS

The following discussion addresses the material U.S. federal income tax considerations of the ownership of Royalty Shares held by individuals who are U.S. citizens or residents. This discussion does not describe all of the tax consequences that may be relevant to a Holder of a Royalty Share in light of the particular circumstances, including tax consequences applicable to Holders who object to special rules, such as:

 

   

financial institutions;

 

   

dealers in securities or commodities;

 

   

traders in securities or commodities that have elected to apply a mark-to-market method of tax accounting in respect thereof;

 

   

persons holding Royalty Shares as part of a hedge, “straddle,” integrated transaction or similar transaction;

 

   

persons whose functional currency is not the U.S. dollar;

 

   

entities or arrangements classified as partnerships for U.S. federal income tax purposes;

 

   

entities classified as corporations or S-corporations for U.S. federal income tax purposes;

 

   

persons who are not U.S. citizens or residents;

 

   

real estate investment trusts;

 

   

regulated investment companies; and

 

   

tax-exempt entities, including individual retirement accounts.

This discussion applies only to Royalty Shares that are held as capital assets within the meaning of Section 1221 of the Code (generally, property held for investment), and does not address all of the U.S. federal income tax considerations that may be relevant to particular Holders in light of their individual circumstances. This discussion does not address alternative minimum tax consequences or consequences of the Medicare contribution tax on net investment income.

If an entity or arrangement that is classified as a partnership for U.S. federal income tax purposes holds Royalty Shares, the U.S. federal income tax treatment of a partner will generally depend on the status of the partner and the activities of the partnership. Partnerships holding Royalty Shares and partners in those partnerships are urged to consult their tax advisers about the particular U.S. federal income tax consequences of owning Royalty Shares.

This discussion is based on the Code, administrative pronouncements, judicial decisions and final, temporary and proposed Treasury regulations as of the date hereof, changes to any of which subsequent to the date hereof may affect the tax consequences described herein. For the avoidance of doubt, this summary does not discuss any tax consequences arising under the laws of any state, local or foreign taxing jurisdiction.

THE U.S. FEDERAL INCOME TAX TREATMENT OF THE ROYALTY SHARES DEPENDS IN SOME INSTANCES ON DETERMINATIONS OF FACT AND INTERPRETATIONS OF COMPLEX PROVISIONS OF U.S. FEDERAL INCOME TAX LAW FOR WHICH NO CLEAR PRECEDENT OR AUTHORITY MAY BE AVAILABLE. YOU ARE URGED TO CONSULT YOUR TAX ADVISOR REGARDING THE U.S. FEDERAL, STATE, LOCAL, AND FOREIGN INCOME AND OTHER TAX CONSEQUENCES TO YOU, IN LIGHT OF YOUR PARTICULAR INVESTMENT OR TAX CIRCUMSTANCES, OF ACQUIRING, HOLDING, AND DISPOSING OF A ROYALTY SHARE.

Certain US Tax Consideration for US Holders of Royalty Shares

The Company intends to take the position that the arrangement is an investment trust described in Treasury Regulation 301.7701-4(c) for U.S. federal income tax purposes in which the investor’s Royalty Share represents an undivided beneficial interest in the Royalty Right derived from the specified Music Asset. The beneficial owner of an investment trust is taxed as a grantor under the grantor trust rules pursuant to Treasury Regulation 1.671-2(e)(3), and not as a partner in a partnership or a shareholder in a corporation. Under the grantor trust rules, a Holder of a Royalty Share should be entitled to flow through tax treatment of the income attributable to the Royalty Right derived from its associated Music Asset. The remainder of this discussion assumes such classification.

For U.S. federal income tax purposes, each Holder of a Royalty Share should be considered the beneficial owner of an undivided interest in its associated Royalty Right derived from a specified Music Asset. Monies associated with Income Interests received in respect of the Royalty Right will be treated as income of the Holder of a Royalty Share attributable to such Royalty Right, and such Holders will be required to include in his, her, or its gross income the pro rata share of such income regardless of whether any

 

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cash is distributed. The character of the income in the hands of a Holder of a Royalty Share Holder should be the same as if the Holder directly owned the Royalty Share Right. Royalty income is taxed as ordinary income. Therefore, for U.S. federal income tax purposes, a distribution to a Holder of a Royalty Share in Holder of its associated Royalty Right should also be taxed as royalty income at ordinary income tax rates.

In general, when a Holder sells his, her, or its Royalty Share, the seller is deemed to sell a proportionate share of the underlying Royalty Right to the buyer. A person acquiring a Royalty Share, in turn, becomes a grantor with respect to that interest. The seller must generally treat any gain or loss realized upon a taxable disposition of a Royalty Share (that is held as a capital asset) as long-term capital gain or loss if the Holder has held the capital asset for more than one year, and if not, as short term capital gain or loss. Long term capital gain of certain non-corporate Holders (including individuals) is currently eligible for U.S. federal income tax treatment at preferential tax rates.

In general, a Holder will realize gain or loss in an amount equal to the difference between the “amount realized” (that is, the amount of money received, plus the fair market value of other property received, plus the amount of liability from which the Holder believed) in such disposition, and the Holder’s “adjusted tax basis.” A Holder’s “adjusted tax basis” generally will equal the Holder’s acquisition cost increased by any income deemed distributed to the Holder, less any amounts distributed that are deemed to be a return of capital. All or a portion of any loss that a Holder realizes upon a taxable disposition of a capital asset may be disallowed if the Holder purchases the same or a substantially identical stock or securities within 30 days before or after the disposition.

A Holder of a Royalty Share who receives an in kind distribution of its associated Royalty Right will not recognize gain or loss if the Holder receives his, her, or its pro rata share of the Royalty Right in exchange for the associated Royalty Share. However, if a Holder of a Royalty Share also receives cash, such Holder will generally recognize gain or loss based upon the difference between the amount of cash received and the Holder’s adjusted tax basis his, her, or its Royalty Share, the character of which will depend on the reason that the cash is received.

Distributions of cash in respect of a Royalty Right may be subject to information reporting to the IRS and possible U.S. backup withholding (currently, at a rate of 24%). Backup withholding will not apply, however, to a Holder who furnishes the Company with a correct taxpayer identification number and makes other required certifications, or who is otherwise exempt from backup withholding and establishes such exempt status.

To prevent backup withholding, Holders of Royalty Shares should provide the Company with a properly completed IRS Form W-9. Backup withholding is not an additional tax, but an advance payment, which may be refunded or credited against a Holder. federal income tax liability. A Holder generally may obtain a refund of any excess amounts withheld under the backup withholding rules by timely filing the appropriate claim for refund with the IRS and furnishing any required information.

Subject to the applicable limitations, each U.S. taxable owner of the Royalty Shares may be entitled to a tax credit against U.S. federal income tax liability for non-U.S. taxes paid with respect to royalty income earned from non-U.S. sources. Any such U.S. tax credit is subject to the rules and limitations under the Code applicable to such credit. Prospective taxable U.S. investors are urged to consider their own tax position in relation to acquiring, holding, and potentially disposing of a Royalty Share, consulting their tax counsel as appropriate.

Consideration should be given to application of section 197 related to certain amortization deductions with respect to the underlying Royalty Rights.

Investors that are organizations exempt from U.S. federal income tax under Section 501(a) of the Code, (“tax-exempt U.S. investors”) are nevertheless subject to tax on their share of any unrelated business taxable income within the meaning of Section 512 of the Code (“UBTI”). While income from the Royalty Shares is not expected to be UBTI, prospective tax-exempt U.S. investors are urged to consider their own tax position in relation to acquiring, holding, and potentially disposing of a Royalty Share, consulting their tax counsel as appropriate.

Certain US Tax Consideration for Non-US Holders of Royalty Shares

Royalty income received from sources within the U.S. may be subject to withholding taxes when paid to non-U.S. investors. Each non-U.S. investor may be subject to U.S. federal withholding tax at the rate of 30% on its distributive share of any U.S. source royalty income, subject to the availability of a reduced rate of withholding tax under an applicable double tax treaty between the non-U.S. investor’s country of tax residence and the U.S. As a condition to making an investment under this Offering, each non-U.S. investor must submit a valid and executed applicable IRS Form W-8 to the

 

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Company to verify tax residency and the investor’s applicable withholding tax rate on payments of U.S. sourced royalties. A Non-U.S. investor that is an intermediary or classified as a partnership or disregarded entity for U.S. federal income tax purposes generally also will be required to provide applicable tax certificates with respect to its investors. If appropriate Form W-8 is not provided non-US investors may be subject to 30% withholding under The Foreign Account Tax Compliance Act (“FATCA”).

If a non-U.S. investor receives income that is “effectively connected with the conduct of a trade or business within the United States” as defined in Section 864 of the Code (“ECI”), from the Company, the non-U.S. investor would be subject to U.S. federal income tax on a net basis on its allocable share of ECI and be required to file a U.S. federal income tax return. Additionally, if a non-U.S. investor that earns ECI is treated as a corporation for U.S. federal income tax purposes, it may also be subject to the U.S. branch profits tax. Prospective non-U.S. investors are urged to consider their own tax position in relation to acquiring, holding, and potentially disposing of a Royalty Share, consulting their tax counsel as appropriate.

 

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ADDITIONAL REQUIREMENTS AND RESTRICTIONS

State Securities – Blue Sky Laws

There is no established public market for the Royalty Shares, and there can be no assurance that any market will develop in the foreseeable future. Transfer of the Royalty Shares may also be restricted under the securities or securities regulations laws promulgated by various states and foreign jurisdictions, commonly referred to as “Blue Sky” laws. Absent compliance with such individual state laws, the Royalty Shares may not be traded in such jurisdictions. Because the securities qualified hereunder have not been registered for resale under the blue sky laws of any state, the Holders of such Royalty Shares and persons who desire to purchase them on the ATS or in any trading market that might develop in the future, should be aware that there may be significant state blue-sky law restrictions upon the ability of investors to sell the securities and of purchasers to purchase the securities. Accordingly, investors may not be able to liquidate their investments and should be prepared to hold the Royalty Shares for an indefinite period of time.

We currently do not intend to and may not be able to qualify securities for resale in states which require the Royalty Shares to be qualified before they can be resold by Holders.

Restrictions Imposed by the USA PATRIOT Act and Related Acts

In accordance with the Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism Act of 2001, or the USA PATRIOT Act, the securities offered hereby may not be offered, sold, transferred or delivered, directly or indirectly, to any “unacceptable investor,” which means anyone who is:

 

   

A “designated national,” “specially designated national,” “specially designated terrorist,” “specially designated global terrorist,” “foreign terrorist organization,” or “blocked person” within the definitions set forth in the Foreign Assets Control Regulations of the United States, or U.S., Treasury Department;

 

   

Acting on behalf of, or an entity owned or controlled by, any government against whom the U.S. maintains economic sanctions or embargoes under the Regulations of the U.S. Treasury Department;

 

   

Within the scope of Executive Order 13224 — Blocking Property and Prohibiting Transactions with Persons who Commit, Threaten to Commit, or Support Terrorism, effective September 24, 2001;

 

 

   

A person or entity subject to additional restrictions imposed by any of the following statutes or regulations and executive orders issued thereunder: the Trading with the Enemy Act, the National Emergencies Act, the Antiterrorism and Effective Death Penalty Act of 1996, the International Emergency Economic Powers Act, the United Nations Participation Act, the International Security and Development Cooperation Act, the Nuclear Proliferation Prevention Act of 1994, the Foreign Narcotics Kingpin Designation Act, the Iran and Libya Sanctions Act of 1996, the Cuban Democracy Act, the Cuban Liberty and Democratic Solidarity Act and the Foreign Operations, Export Financing and Related Programs Appropriations Act or any other law of similar import as to any non-U.S. country, as each such act or law has been or may be amended, adjusted, modified or reviewed from time to time; or

 

   

Designated or blocked, associated or involved in terrorism, or subject to restrictions under laws, regulations, or executive orders as may apply in the future similar to those set forth above.

 

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LEGAL MATTERS

The validity of the securities offered by this Offering Circular will be passed upon for us by Ketsal PLLC, Brooklyn, New York.

 

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ERISA AND RELATED CONSIDERATIONS

General

The following section sets forth certain consequences under ERISA and the Code which a fiduciary of an “employee benefit plan” as defined in and subject to the fiduciary responsibility provisions of ERISA, or of a “plan” as defined in and subject to Section 4975 of the Code, who has investment discretion should consider before deciding to acquire Royalty Shares with plan assets (such “employee benefit plans” and “plans” being referred to herein as “Plans,” and such fiduciaries with investment discretion being referred to herein as “Plan Fiduciaries”). The following summary is not intended to be complete, but only to address certain questions under ERISA and the Code that are likely to be raised by the Plan Fiduciary’s own counsel.

*  *  *

In general, the terms “employee benefit plan” as defined in ERISA and “plan” as defined in Section 4975 of the Code together refer to any plan or account of various types which provides retirement benefits or welfare benefits to an individual or to an employer’s employees and their beneficiaries. Such plans and accounts include, but are not limited to, corporate pension and profit-sharing plans, “simplified employee pension plans,” Keogh plans for self-employed individuals (including partners), individual retirement accounts described in Section 408 of the Code and medical benefit plans.

Each Plan Fiduciary must give appropriate consideration to the facts and circumstances that are relevant to an investment in the Royalty Shares, including the role an investment in the Royalty Shares plays in the Plan’s investment portfolio. Each Plan Fiduciary must be satisfied that investment in the Royalty Shares is a prudent investment for the Plan, that the investments of the Plan, including the investment in the Royalty Shares, are diversified so as to minimize the risks of large losses and that an investment in the Royalty Shares complies with the documents of the Plan and related trust and that an investment in the Royalty Shares does not give rise to a transaction prohibited by Section 406 of ERISA or Section 4975 of the Code.

EACH PLAN FIDUCIARY CONSIDERING ACQUIRING ROYALTY SHARES MUST CONSULT ITS OWN LEGAL AND TAX ADVISERS BEFORE DOING SO.

 

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Ineligible Purchasers

In general, Royalty Shares may not be purchased with the assets of a Plan if the Manager, any placement agent, any of their respective affiliates or any of their respective employees either: (i) has investment discretion with respect to the investment of such Plan assets; (ii) has authority or responsibility to give or regularly gives investment advice with respect to such Plan assets, for a fee, and pursuant to an agreement or understanding that such advice will serve as a primary basis for investment decisions with respect to such Plan assets and that such advice will be based on the particular investment needs of the Plan; or (iii) is an employer maintaining or contributing to such Plan. A party that is described in clause (i) or (ii) of the preceding sentence may be a “fiduciary” under ERISA and the Code with respect to the Plan, and any such purchase might result in a “prohibited transaction” under ERISA and the Code.

Except as otherwise set forth, the foregoing statements regarding the consequences under ERISA and the Code of an investment in the Company are based on the provisions of the Code and ERISA as currently in effect, and the existing administrative and judicial interpretations thereunder. No assurance can be given that administrative, judicial or legislative changes will not occur that may make the foregoing statements incorrect or incomplete.

ACCEPTANCE OF SUBSCRIPTIONS ON BEHALF OF PLANS IS IN NO RESPECT A REPRESENTATION BY THE COMPANY OR ANY OTHER PARTY RELATED TO THE COMPANY THAT THIS INVESTMENT MEETS THE RELEVANT LEGAL REQUIREMENTS WITH RESPECT TO INVESTMENTS BY ANY PARTICULAR PLAN OR THAT THIS INVESTMENT IS APPROPRIATE FOR ANY PARTICULAR PLAN. THE PERSON WITH INVESTMENT DISCRETION SHOULD CONSULT WITH HIS OR HER ATTORNEY AND FINANCIAL ADVISERS AS TO THE PROPRIETY OF AN INVESTMENT IN THE COMPANY, IN LIGHT OF THE CIRCUMSTANCES OF THE PARTICULAR PLAN.

 

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WHERE YOU CAN FIND MORE INFORMATION

We have filed an offering statement on Form 1-A with the SEC under Regulation A of the Securities Act with respect to the Royalty Shares offered by this Offering Circular. This Offering Circular, which constitutes a part of the offering statement, does not contain all of the information set forth in the offering statement or the exhibits and schedules filed therewith. Statements contained in this Offering Circular regarding the contents of any contract or any other document that is filed as an exhibit to the offering statement are not necessarily complete, and each such statement is qualified in all respects by reference to the full text of such contract or other document filed as an exhibit to the offering statement. The offering statement, including its exhibits and schedules, may be inspected without charge at the public reference room maintained by the SEC, located at 100 F Street, N.E., Room 1580, Washington, D.C. 20549, and copies of all or any part of the offering statement may be obtained from such offices upon the payment of the fees prescribed by the SEC. Please call the SEC at 1-800-SEC-0330 for further information about the public reference room. The SEC also maintains an Internet website that contains reports, proxy and information statements and other information regarding registrants that file electronically with the SEC. The address of the site is www.sec.gov.

Information about our Company and its affiliated entities can be found at the website address of Jukebox Technology located at https://www.jkbx.com. After the completion of this Offering, you may access these materials at this website free of charge as soon as reasonably practicable after they are electronically filed with, or furnished to, the SEC. Information contained on our website is not a part of this Offering Circular and the inclusion of our website address in this Offering Circular is an inactive textual reference only.

After the completion of this Tier II, Regulation A offering, we do not intend on becoming subject to the information and periodic reporting requirements of the Exchange Act. If, however, we become subject to the reporting requirements of the Exchange Act, we will file periodic reports, proxy statements and other information with the SEC. Such periodic reports, proxy statements and other information will be available for inspection and copying at the public reference room and on the SEC’s website referred to above. Until we become or never become subject to the reporting requirements of the Exchange Act, we will furnish the following reports, statements, and tax information to each Holder of Royalty Shares:

 

  1.

Reporting Requirements under Tier II of Regulation A. Following this Tier II, Regulation A offering, we will be required to comply with certain ongoing disclosure requirements under Rule 257 of Regulation A. We will be required to file: an annual report with the SEC on Form 1-K; a semi-annual report with the SEC on Form 1-SA; current reports with the SEC on Form 1-U; and a notice under cover of Form 1-Z. The necessity to file current reports will be triggered by certain corporate events, similar to the ongoing reporting obligation faced by issuers under the Exchange Act, however, the requirement to file a Form 1-U is expected to be triggered by significantly fewer corporate events than that of the Form 8-K. Such reports and other information will be available for inspection and copying at the public reference room and on the SEC’s website referred to above. Parts I & II of Form 1-Z will be filed by us if and when we decide to and are no longer obligated to file and provide annual reports pursuant to the requirements of Regulation A.

 

  2.

Annual Reports. As soon as practicable, but in no event later than one hundred twenty (120) days after the close of our fiscal year, ending on the last Sunday of a calendar year, we will mail or make available, by any reasonable means, to each Holder of Royalty Shares as of a date selected by the Manager, an annual report containing our financial statements for such fiscal year, presented in accordance with GAAP, including a balance sheet and statements of operations, company equity and cash flows, with such statements having been audited by an accountant selected by the Company. The Company shall be deemed to have made a report available to each Holder of Royalty Shares as required if it has either (i) filed such report with the SEC via its Electronic Data Gathering, Analysis and Retrieval, or EDGAR, system and such report is publicly available on such system or (ii) made such report available on any website maintained by us and our affiliate and available for viewing by Holder of Royalty Shares.

 

  3.

Tax Information. As soon as practicable following the end of our fiscal year, which is currently January 1st through December 31st, we will send to each Holder of Royalty Shares such tax information as shall be reasonably required for federal and state income tax reporting purposes.

We may deliver the above information to each Holder of Royalty Shares via the JKBX Platform.

 

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JUKEBOX HITS VOL. 1 LLC

Best Efforts Offering of Royalty Shares

OFFERING CIRCULAR

 

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PART III – EXHIBITS

 

Exhibit
No.
  

Description

  2.1*    Certificate of Formation of the Company
  2.2*    Form of Second Amended and Restated Limited Liability Company Agreement of the Company
  3.1*    Form of Royalty Share Agreement
  3.2    Form of Jukebox Hits Vol. 1 Delaware Statutory Trust Agreement
  4.1*    Form of Subscription Agreement
  6.1*    Form of Platform Access Agreement, by and between the Company and Jukebox Technology
  6.2#*    Asset Purchase Agreement, dated as of November 5, 2023, by and between Coda Songs LLC, Jukebox Co. and the Company
  6.3*    Terms of Use of the JKBX Platform
  6.4*    Form of Administrative Services Agreement
  6.5    Form of Custody Agreement
10.1    Power of Attorney (included on signature page hereto)
11.2*    Consent of Ketsal PLLC (included as part of Exhibit 12.1)
12.1*    Opinion of Ketsal PLLC
13.1*    Testing the Waters Materials
99.1    Interview with Jukebox Co. CEO Scott Cohen on MBW Podcast, October 23, 2023
99.2    Alts.co blog post, September 29, 2023
99.3    Interview with Jukebox Co. CEO Scott Cohen on Okay, Computer Podcast, September, 27, 2023

 

*

Previously filed.

#

Certain portions of this exhibit (indicated by “[*****]”) have been omitted pursuant to the Instruction to Item 17 of Form 1-A.

 

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SIGNATURES

Pursuant to the requirements of Regulation A, the issuer certifies that it has reasonable grounds to believe that it meets all of the requirements for filing on Form 1-A, and has duly caused this offering statement to be signed on its behalf by the undersigned, thereunto duly authorized, in the City of Austin, State of Texas, on November 27, 2023.

JUKEBOX HITS VOL. 1 LLC

By:

 

Double Platinum Management LLC, its manager

By:

 

/s/ Samuel Thacker

Name:

 

Samuel Thacker

Title:

 

President

KNOW ALL PERSONS BY THESE PRESENTS, that each person whose signature appears below constitutes and appoints Samuel Thacker as his true and lawful attorney-in-fact and agent, with full power of substitution and resubstitution, for him and in his name, place and stead, in any and all capacities, to sign any and all amendments (including all pre-qualification and post-qualification amendments) to this Form 1-A offering statement and to file the same, with all exhibits thereto and other documents in connection therewith, with the Securities and Exchange Commission, granting unto said attorney-in-fact and agent full power and authority to do and perform each and every act and thing requisite and necessary to be done in connection therewith, as fully to all intents and purposes as he might or could do in person, hereby ratifying and confirming all that each of said attorney-in-fact and agent or his substitutes or substitute, may lawfully do or cause to be done by virtue hereof.

Pursuant to the requirements of Regulation A, this Form 1-A has been signed by the following persons in the capacities indicated on November 27, 2023.

 

Signature

  

Title

 

Date

/s/ Samuel Thacker

Name: Samuel Thacker

  

President of Double Platinum Management LLC

 

November 27, 2023

/s/ Wendell Younkins

Name: Wendell Younkins

  

Chief Financial Officer of Double Platinum Management LLC

 

November 27, 2023

 

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ADD EXHB 3 d462927daddexhb.htm ADD EXHB ADD EXHB

Exhibit 3.2

JUKEBOX HITS VOL. 1 DELAWARE STATUTORY TRUST AGREEMENT

Between

JUKEBOX HITS VOL. 1 LLC

as Grantor and the Initial Beneficiary

and

JUKEBOX HITS VOL. 1 LLC

as Management Trustee

and

DELAWARE TRUST COMPANY,

as Delaware Trustee


JUKEBOX HITS VOL. 1 DELAWARE STATUTORY TRUST AGREEMENT

THIS JUKEBOX HITS VOL. 1 DELAWARE STATUTORY TRUST AGREEMENT dated as of [                ] (this “Trust Agreement”), is made by and between Jukebox Hits Vol. 1 LLC, a Delaware limited liability company (“Company”), as the grantor (“Grantor”), on the one hand, and Company, as a trustee (the “Management Trustee”), and Delaware Trust Company, as a trustee (the “Delaware Trustee”) (collectively, the “Trustees”), on the other hand, for the benefit of those certain Beneficiaries (defined below), and on the terms set forth herein.

RECITALS

WHEREAS, Company was established to facilitate and manage investors’ economic exposure to Company’s contractual right to receive a portion of the royalties, fees, and other income streams (collectively, “Income Interests”) related to or derived from musical songs, compositions, sound recordings, portfolios, or catalogs (collectively, “Music Assets”) from the purchase agreements set forth on Exhibit B hereto (each, a “Purchase Agreement”) with Income Interest Owners as described in that certain Preliminary Offering Circular of the Company filed on [                ] (as amended and supplemented from time to time, the “Offering Circular”);

WHEREAS, Company facilitates and manages the investors’ economic exposure to the Royalty Rights by issuing, for each series, the contractual right to receive a specified portion of royalties, fees, and other income streams embodied in the Income Interests it receives that relate to Royalty Rights for a specific Music Asset or a compilation of Music Assets (as applicable) set forth in the Royalty Shares Offering Table in the Offering Circular (each, a “Royalty Share”), to investors in that certain best efforts offering of securities (the “Offering”) described in the Offering Circular pursuant to Regulation A of the Securities Act of 1933, as amended (the “Securities Act”);

WHEREAS, Company has and will convey, or cause to be conveyed, any Royalty Rights it receives pursuant to the Purchase Agreements to this Trust, which will hold the Royalty Rights for the benefit of the investors who purchase a Royalty Share (each, a “Holder”);

WHEREAS, Company and the Trustees have agreed to create this trust as a “statutory trust” in accordance with Chapter 38 of Title 12 of the Delaware Code (the “Act”), in order to facilitate the Holder’s economic exposure to the Royalty Rights through the purchase of Royalty Shares; and

WHEREAS, Company and the Trustees intend that this Trust Agreement constitute the “governing instrument” of the Trust (as such term is defined in Section 3801(c) of the Act).


NOW, THEREFORE, the parties agree as follows:

ARTICLE I

DEFINITIONS

1.01    Capitalized Terms. Terms which are used but not defined in this Trust Agreement shall have the meanings given to them in the Royalty Share Agreement (defined below). For purposes of this Trust Agreement, the following terms have the meanings set forth below:

Accountants” means the firm of certified public accountants as shall be engaged from time to time by the Management Trustee on behalf of the Trust.

Act” has the meaning set forth in the Recitals.

Affiliate” means, when used with reference to a specified Person, (i) any Person that, directly or indirectly, through one or more intermediaries, Controls or is Controlled by, or is under common Control with, the specified Person, (ii) any Person that, directly or indirectly, is the beneficial owner of more than fifty percent (50%) of any class of equity of the specified Person, or is the beneficial owner of more than a fifty percent (50%) interest in the capital or profits of the specified Person, (iii) any Person of which the specified Person is directly or indirectly the beneficial owner of more than a fifty percent (50%) of any class of equity or any Person of which the specified Person is the beneficial owner of more than a fifty percent (50%) interest in the capital or profits, or (iv) any member of the immediate family of the specified Person. For purposes hereof, a Person’s immediate family shall include such Person’s spouse, parents, children, and trusts for any of their benefit.

Applicable Law” means any law, regulation, ordinance, code, decree, treaty, ruling or determination of an arbitrator, court, or other Governmental Authority, or any Executive Order issued by the President of the United States, in each case applicable to or binding upon such Person or to which such Person, any of its property, or the conduct of its activities is subject.

Bankruptcy Law” means Title 11 of the United States Code, or any similar federal or state law for the relief of debtors.

Beneficiary” means the Initial Beneficiary and any other Person who hereafter becomes a Holder of a Royalty Share.

Code” means the Internal Revenue Code of 1986, as amended.

Company” has the meaning set forth in the introductory paragraph of this Trust Agreement.

Control” means the possession, directly or indirectly, of the power to direct or cause the direction of the management and policies of a Person whether through ownership of voting securities, beneficial interests, by contract, or otherwise.

 

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“Delaware Trustee” has the meaning set forth in the introductory paragraph of this Trust Agreement, and any successor Delaware Trustee appointed hereunder.

Distributions” means the aggregate amount of cash plus the fair market value (as determined by the Management Trustee) of any property (net of any liabilities to which such property is subject) distributed by the Trust to a Holder.

Governmental Authority” means any nation or government, any state or other political subdivision thereof; and any Person exercising executive, legislative, judicial, regulatory or administrative functions of or pertaining to such government.

Grantor” has the meaning set forth in the introductory paragraph of this Trust Agreement.

Holder” has the meaning set forth in the Recitals.

Income Interest” has the meaning set forth in the Recitals.

Income Interest Owner” means those Persons who sold the Income Interests pursuant to a Purchase Agreement.

Initial Beneficiary” has the meaning set forth in the Recitals.

Interest” means the interest of a Holder in a series of Royalty Share at any particular time, together with such Beneficiary’s rights and obligations under this Trust Agreement, including, without limitation, the right of such Holder to any and all Distributions described in this Trust Agreement.

Management Trustee” has the meaning set forth in the introductory paragraph of this Trust Agreement, and any successor Management Trustee appointed hereunder.

Net Royalties” means Royalties received by the Management Trustee after the deduction of the Royalty Fee.

Offering” has the meaning set forth in the Recitals.

Offering Circular” has the meaning set forth in the Recitals.

Person” means a natural person, partnership (whether general or limited), limited liability company, trust, (including a common law trust, business trust, statutory trust, voting trust or any other form of trust) estate, association (including any group, organization, co-tenancy, plan, board, council or committee), corporation, government (including a country, state, county or any other governmental subdivision, agency or instrumentality), custodian, nominee or any other individual or entity (or series thereof) in its own or any representative capacity, in each case, whether domestic or foreign, and a statutory trust or foreign statutory trust.

Purchase Agreement” has the meaning set forth in the Recitals.

Royalties” means any and all monies, fees, royalties, revenues, amounts and sums of any kind or description payable or becoming payable to Company by any individual or entity anywhere in the universe in respect of the use or exploitation of a certain Music Asset.

Royalty Fee” means the “Royalty Fee” as defined in each Royalty Share Agreement.

 

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Royalty Rights” means the rights of the Company under the Purchase Agreements.

Royalty Shares” has the meaning set forth in the Recitals.

Royalty Share Agreement” means an agreement whereby the Holder buys Royalty Shares from Company in the Offering, and Company agrees to pay to the Holder the Royalty Share Payments to which the Holder is entitled pursuant thereto.

Royalty Share Payments” means the “Royalty Share Payments” as defined in each Royalty Share Agreement.

SEC” means the Securities and Exchange Commission.

Securities Act” has the meaning set forth in the Recitals.

Single Purpose Investment Trust” shall have the meaning set forth in Article X hereof.

Transaction Documents” means the Trust Agreement and the Royalty Share Agreement.

Transfer” means the sale, transfer, or assignment of all or any portion of a Holder’s Interest.

Treasury Regulations” means the U.S. Treasury Regulations promulgated under the Code, including proposed or temporary Treasury Regulations. References herein to specific provisions of proposed or temporary regulations shall include analogous provisions of final Treasury Regulations or other successor Treasury Regulations.

Trust” means the trust established by this Trust Agreement, including any subtrusts established herein.

Trust Agreement” means this Jukebox Hits Vol. 1 Delaware Statutory Trust Agreement, as it may be amended from time to time.

Trust Property” means all right, title and interest in and to the Royalty Rights and any Net Royalties that are contributed to the Trust by the Grantor, or otherwise acquired by the Trust, either directly or indirectly.

Trustee” or “Trustees” means individually and collectively the entities named in the first paragraph hereof as the Delaware Trustee and the Management Trustee, and any successor trustee appointed hereunder.

ARTICLE II

ORGANIZATION

2.01    Name. The Trust created herein shall be known as the Jukebox Hits Vol. 1 Delaware Statutory Trust in which name the Trustees may hold or otherwise take title to property, make and execute contracts, make and execute other instruments to convey and transfer property, and sue and be sued.

 

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2.02    Office. The office of the Trust shall be as set forth in Exhibit A attached hereto and made a part hereof, or at such other address within Delaware as the Management Trustee may designate by notice to the Grantor and the Beneficiaries.

2.03    Purposes and Powers. The purpose of the Trust is to engage in the following activities: (i) to take title to the Trust Property for the sole purpose of protecting, maintaining, preserving and conserving said property for the Holders, as Beneficiaries of the Trust; (ii) to perform such other activities incidental thereto, including to facilitate a Holder’s receipt of Royalty Share Payments; (iii) to comply with the Transaction Documents; and (iv) to take such other actions as the Trustees deem necessary or advisable to carry out the foregoing. The Trustees shall have no power to vary the investments of the Holders. The Trustees shall hold the Trust Property solely for these purposes, they shall not conduct any activities on behalf of the Trust other than as specifically set forth herein, and the Trust shall not conduct any trade or business.

2.04    Appointment of Trustees. The Grantor hereby appoints the Delaware Trustee and the Management Trustee as Trustees of the Trust effective as of the date hereof. The Delaware Trustee is appointed to serve as a Trustee in Delaware for the sole purpose of satisfying the requirements of Section 3807 of the Act that the Trust have at least one trustee with a principal place of business within Delaware. The Delaware Trustee shall be entitled to receive customary fees for its service, and it shall have only those duties set forth in Article VII. The Management Trustee shall administer all other activities of the Trust as set forth in this Trust Agreement and as otherwise provided by Applicable Law. The Trustees acknowledge receipt, in trust from the Grantors as of the date hereof, of the property set forth on Exhibit B hereof, constituting the initial Trust Property.

2.05    Declaration of Trust. The Trustees hereby declare that they will hold the Trust Property in trust upon and subject to the conditions set forth herein for the use and benefit of the Beneficiaries, subject to the obligations, or the intention of the parties hereto, that the Trust constitute a statutory trust under the Act and an investment trust for purposes of Treasury Regulations Section 301.7701-4(c).

2.06    Liabilities of Trust. The Beneficiaries shall not be personally liable for any liabilities or obligations of the Trust except as set forth in this Trust Agreement.

2.07    Situs of Trust. The Trust will be located and administered in the State of Delaware. All bank accounts maintained by the Trustees on behalf of the Trust shall be located as designated by the Management Trustee. The Trust shall not have any employees. The Trust’s only office is and will be at the office of the Delaware Trustee as set forth in Exhibit A attached hereto.

2.08    No Business Entity. This arrangement shall not constitute a partnership, joint venture, or an association for federal income tax purposes. The parties instead intend that the arrangement be treated for federal income tax purposes as an investment trust described in Treasury Regulations Section 301.7701-4(c), whereby each Holder is treated as a grantor under the grantor trust rules described in Code Section 671, et seq. Each Holder shall report its interest in the Trust in a manner consistent with the foregoing and shall not take any action that would be inconsistent with the foregoing. In addition, the Management Trustee shall use commercially reasonable efforts to cause the Trust not to undertake any activities that would cause it to be classified as a business entity for federal income tax purposes.

 

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ARTICLE III

BENEFICIARIES AND RESTRICTIONS ON TRANSFER OF BENEFICIAL INTEREST

3.01    Naming of Beneficiaries. The Grantor hereby names the Grantor as the Initial Beneficiary of the Trust effective as of the date hereof, and any Person who hereinafter becomes a Holder of a Royalty Share.

3.02    Restrictions on Transfer of Royalty Shares. A Royalty Share may only be Transferred by operation of law or with the prior written consent of the Management Trustee, or on a trading platform that has been approved in writing by the Management Trustee. All expenses of any such transfer hereunder shall be paid by the transferor. Any transfer or assignment of an Interest not in accordance with the terms of this Trust Agreement shall be void.

ARTICLE IV

CONCERNING THE TRUST ADMINISTRATION

4.01    Management of Trust By Management Trustee. Except as otherwise provided in this Trust Agreement, all decisions affecting the Trust shall be made by the Management Trustee.

4.02    Restrictions on Management Trustee’s Power. The Management Trustee shall comply with the applicable provisions of the Code in the manner necessary to effect the intention of the parties that the Trust at all times be classified as an investment trust under Treasury Regulation Section 301.7701-4(c) whereby a Holder is treated as a grantor under the grantor trust rules under Code Section 671, et. seq., and that the Trust be accorded such treatment until its revocation pursuant to Article X hereof. The Management Trustee agrees to take any action required by the Code and Treasury Regulations promulgated thereunder to maintain such status.

4.03    Representations and Warranties of the Grantor. The Grantor hereby represents and warrants to the Management Trustee as follows:

(a)    Upon the receipt of the initial Trust Property by the Management Trustee under this Agreement, the Management Trustee will have good title to such Trust Property.

(b)    This Trust Agreement has been duly and validly authorized, executed and delivered by, and constitutes a valid and binding agreement of, the Grantor, enforceable in accordance with its terms, subject to Bankruptcy Law and other laws relating to creditors’ rights; and equitable relief may be subject to equitable defenses and to the discretion of the court before which any proceedings therefor may be brought.

ARTICLE V

DISTRIBUTION OF TRUST FUNDS AND OPERATIONS OF TRUST

5.01    Distributions in General. The Management Trustee shall cause to be Distributed to each Holder only their respective Royalty Share Payments in accordance with the terms and conditions of the applicable Holder’s Royalty Share Agreement. In accordance with the Royalty

 

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Share Agreements, the Management Trustee’s obligation to make Distributions of Royalty Share Payments to any Holder in respect of each series of Royalty Shares shall be limited, in all circumstances, to an amount equal to the amount of corresponding Net Royalties actually received by the Management Trustee (after deducting the any Royalty Fees), and that no Royalty Share Payments on the Royalty Shares shall be payable to any Holder unless the Trust has actually received corresponding Net Royalties. Notwithstanding any provision to the contrary contained herein, the Management Trustee shall not cause a Distribution to be made if such Distribution would violate Applicable Law.

5.02    Withholding. If required by the Code or Applicable Law, the Management Trustee shall cause to be withheld any required amount from any Distribution to a Beneficiary for payment to the appropriate taxing authority. Any amount so withheld from a Beneficiary will be treated as a Distribution to such Beneficiary. Each Beneficiary may file and present the Management Trustee with any document that is required by any taxing authority in order to avoid or reduce any withholding obligation that would otherwise be imposed on the Trust.

5.03    Power to Divide or Combine Trusts. The Management Trustee may create a subtrust that segregates a Royalty Right relating to a Music Asset from Royalty Rights relating to other Music Assets, each to be administered in accordance with the terms and conditions of this Trust Agreement when, in the Management Trustee’s sole discretion, it determines that division is desirable or advisable in view of tax considerations or other objectives of the Trust the Beneficiaries. The Management Trustee shall not be required to make a physical segregation or division of the various subtrusts created under this Trust Agreement, except as segregation or division may be required by reason of Applicable Law. The Management Trustee, in its sole discretion, shall have the further power to combine two or more trusts or subtrusts relating to a Royalty Right of a Music Asset into a single trust for purposes of administration, when tax or other factors indicate that such combination would be desirable or advisable.

5.04    No Duty to Segregate. Each Trust created under this Trust Agreement shall constitute a separate trust and be administered accordingly; however, the assets of all of the Trusts may be combined for bookkeeping purposes and held for the Beneficiaries without physical division into separate trusts.

ARTICLE VI

RIGHTS AND OBLIGATIONS OF BENEFICIARIES

6.01    Status of Relationship.

(a)    This Trust Agreement shall not create, nor shall it be interpreted to impose a partnership or joint venture relationship on the Holders either in law or in equity. Accordingly, no Holder shall have any liability for the debts or obligations incurred by any other Holder, with respect to the Trust Property or otherwise, and no Holder shall have any authority, other than as specifically provided herein, to act on behalf of any other Holder or to impose any obligation with respect to the Trust Property.

(b)    The Trust shall not constitute a “business trust” or “commercial trust” within the meaning of Regulations Section 301.7701-4(b) or any other business entity for federal income tax

 

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purposes, but shall instead constitute an “investment trust” within the meaning of Regulations Section 301.7701-4(c) whereby a Holder is taxed as a grantor under the grantor trust rules under Code Section 671 et seq.

6.02    No Legal Title to Trust Property in the Holders. Legal title to the Trust Property shall be held by the Trustees in the name of the Trust, and the Holders shall not have legal title to any part of the Trust Property. The Holders shall be entitled to receive Distributions with respect to their Royalty Share Payments only in accordance with Article V. Neither the bankruptcy, death or other incapacity of any Holder, nor the transfer, by operation of law or otherwise, of any right, title or interest of the Holders in and to the Trust Property or hereunder shall terminate this Trust Agreement. Except as expressly set forth herein, the Holders shall not be liable for any liabilities or obligations of the Trust, the Trustees, or for the performance of this Trust Agreement.

6.03    Sale or Other Disposition of Trust Property by Trustees Is Binding. Any sale or other disposition of Trust Property, or any part thereof, by the Management Trustee made pursuant to the terms of this Trust Agreement shall bind the Trust and the Holders, and be effective to transfer or convey all rights, title and interest of the Trustees and the Holders in and to the Trust Property. The Management Trustee shall not be bound by the opinions of the Holders with respect to any sale or other disposition of the Trust Property or any part thereof, and the decision to undertake any transaction or not rests solely with the Management Trustee.

6.04    In-Kind Distributions. No Holder shall have any right to demand and receive from the Trust an in-kind distribution of, or otherwise divide or partition, the Trust Property.

ARTICLE VII

AUTHORITY AND DUTIES OF THE TRUSTEES

7.01    Delaware Trustee. The Delaware Trustee is appointed to serve as the trustee of the Trust in the State of Delaware for the purpose of satisfying the requirement of Section 3807(a) of the Delaware Statutory Trust Act that the Trust have at least one trustee with a principal place of business in Delaware. It is understood and agreed by the parties hereto that the Delaware Trustee shall have none of the duties or liabilities of the other parties and no such duties shall be implied. The duties of the Delaware Trustee shall be limited to (i) accepting legal process served on the Trust in the State of Delaware, (ii) the execution of any certificates required to be filed with the Secretary of State of the State of Delaware which the Delaware Trustee is required to execute under Section 3811 of the Delaware Statutory Trust Act, and (iii) any other duties specifically allocated to the Delaware Trustee in this Trust Agreement. To the extent that, at law or in equity, the Delaware Trustee has duties (including fiduciary duties) and liabilities relating thereto to the Trust or the Beneficiaries, it is hereby understood and agreed by the other parties hereto that such duties and liabilities are replaced by the duties and liabilities of the Delaware Trustee expressly set forth in this Trust Agreement. The Delaware Trustee shall not be obligated to give any bond or other security for the performance of any of its duties hereunder.

 

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7.02    Management Trustee’s General Authority. The Management Trustee is authorized to take all actions required or permitted to be taken by it pursuant to the terms of this Trust Agreement and Applicable Law. Except as required by Applicable Law, the Management Trustee may act independently of the Delaware Trustee and shall have the authority to perform all powers actions that are authorized under this Trust Agreement.

7.03    Management Trustee’s Specific Authority. The Management Trustee shall, acting alone, without the need to obtain consent or any authorizations from either the Delaware Trustee or any Beneficiary, have the following powers in the administration of the Trust; provided, however, that the Management Trustee shall not exercise power described in this Section 7.03 if the exercise of such power would cause the Trust to fail to constitute an “investment trust” within the meaning of Regulations Section 301.7701-4(c):

(a)    To hold and continue to hold the Trust Property for the sole purpose of conserving, maintaining, preserving, and protecting such property for the Beneficiaries without any duty to market, advertise, or improve Trust Property.

(b)    To take any action required or permitted to be taken under the Transaction Documents.

(c)    To cause the Trust Property to be registered in the name of the Trust or in the name of the Trustees.

(d)    To sell, mortgage, pledge, hypothecate, convey and otherwise dispose of the Trust Property at such time and upon the terms and conditions as the Management Trustee deems advisable.

(e)    To consent to the merger or consolidation of the Trust with any entity whatsoever without applying to any court for permission to take such action.

(f)    To enforce, pay, compromise, adjust, settle, arbitrate, abandon, contest, or defend any claim or demand in favor of or against the Trust; and to enforce any obligations or liens held hereunder; and to enter into such contracts and agreements and make such compromises or settlements of debts, claims or controversies as it may deem necessary or desirable.

(g)    To incur and pay the ordinary and necessary expenses of administration of the Trust.

(h)    To take any other action deemed advisable for the protection, maintenance preservation and conservation of the Trust Property so long as such action is authorized by Applicable Law.

(i)    To hold an undivided interest in any Property acquired by the Trust, without being required to make a physical division of said property.

(j)    To consent to any and all elections under the Code.

 

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(k)    To employ Accountants, attorneys, and such agents as it may deem advisable; to pay reasonable compensation for their services and to charge same to (or apportion same between) corpus and income of the Trust as it may deem proper.

(l)    To administer, or to engage an Affiliated service provider (“Servicer”) to administer, the Royalty Rights whereby, as part of the engagement, the Management Trustee or the Servicer, as applicable, may generate investment income and receive reimbursement from the Trust as determined by the Management Trustee.

The powers herein granted to the Management Trustee may be exercised in whole or in part and shall be deemed to be supplementary to and not exclusive of the general powers of the Trustees pursuant to the laws of the State of Delaware and shall include all powers necessary to carry the same into effect. The above enumeration of specific powers shall not be construed in any way to limit or affect the general powers herein granted.

7.04    General Duties. It shall be the duty of the Trustees to discharge (or cause to be discharged) all of its responsibilities pursuant to the terms of this Trust Agreement and to administer the Trust in the interest of the Beneficiaries.

7.05    Accounting; Reports to the Beneficiaries, the Internal Revenue Service and Others. The Management Trustee shall cause (i) to be maintained the books of the Trust on a calendar year basis in accordance with generally accepted accounting principles (“GAAP”) or some other comprehensive basis of accounting, consistently applied, (ii) to be delivered to the Beneficiaries a statement in such form and containing such information as is required under the Code or Applicable Law to enable the Beneficiaries to prepare their federal and state income tax returns, (iii) to be filed such tax returns as the Trust may be required to file (if any) and make any appropriate elections as may be desired or required under Applicable Law, and (iv) to be mailed to the Beneficiaries copies of tax returns of the Trust (if any) if required by Applicable Law.

7.06    Signature of Returns. Any tax return required to be filed by the Trust shall be signed by the Management Trustee on behalf of the Trust unless Applicable Law dictates otherwise.

7.07    No Duties Except as Specified in this Agreement or in Instructions. The Trustees shall not have any duty or obligation to manage, make any payment in respect of, record, sell, dispose of, or otherwise deal with the Trust Property, or to otherwise take or refrain from taking any action except as expressly provided by the terms of this Trust Agreement, and no implied duties or obligations shall be read into this Agreement against the Trustees. The Trustees nevertheless agree that they will, at their own cost and expense, promptly take commercially reasonable actions as may be necessary to discharge any liens on any part of the Trust Property which result from claims against the Trustees personally that are not related to the ownership or the administration of the Trust Property.

7.08    No Action Except Under Specified Documents. The Trustees shall not manage, control, use, sell, dispose of or otherwise deal with any part of the Trust Property except in accordance with the powers granted to and the authority conferred upon the Management Trustee pursuant to the Transaction Documents.

 

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7.09    Advice of Counsel. In the administration and interpretation of the Trust, the Trustees may perform any of their powers and duties, directly or through agents or attorneys and may consult with counsel, accountants and other skilled Persons selected and employed by them. The Trustees shall not be liable for anything done or omitted in good faith in accordance with the advice or opinion within the scope of competence of any such counsel, accountant or other skilled Persons selected with due care.

ARTICLE VIII

CONCERNING THE TRUSTEE

8.01    Acceptance of Trust and Duties. The Trustees accept the Trust hereby created and agree to perform their duties hereunder with respect to the same, but only upon the terms of this Trust Agreement.

8.02    Management Trustee Limitation of Liability. The Trustees shall not be personally liable under any circumstances, except (i) for their own willful misconduct or gross negligence, (ii) for liabilities arising from the failure by such Trustee to perform obligations expressly undertaken by it under the terms of any Transaction Document, or (iii) for taxes, fees or other charges on, based on or measured by any fees, commissions or compensation received by the Trustees in connection with any of the transactions contemplated by this Trust Agreement. In particular, but not by way of limitation:

(a)    The Management Trustee shall not be personally liable for any error of judgment made in good faith by an authorized agent of a Trustee;

(b)    The Management Trustee shall not be personally liable with respect to any action taken or omitted to be taken by the Trustees based on a good faith interpretation of the Transaction Documents.

(c)    No provision of this Trust Agreement shall require the Management Trustee to expend or risk their personal funds or otherwise incur any financial liability in the performance of any of their rights or powers hereunder, if the Management Trustee shall have reasonable grounds for believing that repayment of such funds or adequate indemnity against such risk or liability is not reasonably assured or provided to it; and

(d)    Under no circumstances shall the Management Trustee be personally liable for any indebtedness of the Trust.

8.03    Delaware Trustee’s Limitation of Liability. The Delaware Trustee shall not be liable for the acts or omissions of the other parties, nor shall the Delaware Trustee be liable for supervising or monitoring the performance and the duties and obligations of the other parties or the Trust under this Trust Agreement. The Delaware Trustee shall not be personally liable under any circumstances, except for its own willful misconduct, bad faith or gross negligence. In particular, but not by way of limitation:

(a)    the Delaware Trustee shall not be personally liable for any error of judgment made in good faith, except to the extent such error of judgment constitutes gross negligence on its part;

(b)    no provision of this Trust Agreement shall require the Delaware Trustee to expend or risk its personal funds or otherwise incur any financial liability in the performance of its rights or powers hereunder, if the Delaware Trustee shall have reasonable grounds for believing that the payment of such funds or adequate indemnity against such risk or liability is not reasonably assured or provided to it;

(c)    under no circumstances shall the Delaware Trustee be personally liable for any representation, warranty, covenant, agreement, or indebtedness of the Trust;

(d)    the Delaware Trustee shall not be personally responsible for or in respect of the validity or sufficiency of this Trust Agreement or for the due execution hereof by the other parties;

(e)    the Delaware Trustee shall incur no liability to anyone in acting upon any signature, instrument, notice, resolution, request, consent, order, certificate, report, opinion, bond or other document or paper reasonably believed by it to be genuine and reasonably believed by it to be signed by the proper party or parties. The Delaware Trustee may accept a certified copy of a resolution of the board of directors or other governing body of any corporate party as conclusive evidence that such resolution has been duly adopted by such body and that the same is in full force and effect. As to any fact or matter the manner of ascertainment of which is not specifically prescribed herein, the Delaware Trustee may for all purposes hereof rely on a certificate, signed by the directing party, as to such fact or matter, and such certificate shall constitute full protection to the Delaware Trustee for any action taken or omitted to be taken by it in good faith in reliance thereon;

 

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(f)    in the exercise or administration of the trust hereunder, the Delaware Trustee (a) may act directly or through agents or attorneys pursuant to agreements entered into with any of them, and the Delaware Trustee shall not be liable for the default or misconduct of such agents or attorneys if such agents or attorneys shall have been selected by the Delaware Trustee in good faith and with due care and (b) may consult with counsel, accountants and other skilled persons to be selected by it in good faith and with due care and employed by it, and it shall not be liable for anything done, suffered or omitted in good faith by it in accordance with the advice or opinion of any such counsel, accountants or other skilled persons;

(g)    except as expressly provided in this Section 8.03, in accepting and performing the trust hereby created the Delaware Trustee acts solely as Delaware Trustee hereunder and not in its individual capacity, and all persons having any claim against the Delaware Trustee by reason of the transactions contemplated by this Trust Agreement shall look only to the Trust’s property for payment or satisfaction thereof; and

(h)    the Delaware Trustee shall not be liable for punitive, exemplary, consequential, special or other similar damages for a breach of this Trust Agreement under any circumstances.

8.04    Furnishing of Documents. The Trustees shall furnish to a Beneficiary, upon demand, duplicates or copies of all documents and materials required by Applicable Law to be provided to such Beneficiary within sixty (60) days of such demand, or at such other time as is prescribed by Applicable Law.

8.05    Reliance; Advice of Counsel.

(a)    The Trustees shall incur no liability to anyone in acting upon any signature, instrument, notice, resolution, request, consent, order, certificate, report, opinion, bond or other document or paper believed by them to be genuine and believed by them to be signed by the proper parties. The Trustees may accept a certified copy of a resolution of the board of directors or other governing body of any corporate party as conclusive evidence that such resolution has been duly adopted by such body and that the same is in full force and effect. As to any fact or matter the manner of ascertainment of which is not specifically prescribed herein, the Trustees may for all purposes hereof rely on a certificate, signed by the president or any vice president or by the treasurer or any assistant treasurer or the secretary or any assistant secretary of the relevant party, as to such fact or matter, and such certificate shall constitute full protection to the Trustees for any action taken or omitted to be taken by them in good faith in reliance thereon.

(b)    In the exercise or administration of the Trust hereunder, the Trustees (i) may act directly or, at the expense of the Trust, through agents or attorneys pursuant to agreements entered into with any of them, and the Trustees shall not be liable for the default or misconduct of such agents or attorneys if such agents or attorneys shall have been selected by the Trustees with reasonable care; and (ii) may, at the expense of the Trust, consult with counsel, accountants and other skilled persons to be selected with reasonable care and employed by it, and the Trustees shall not be liable for anything done, suffered or omitted in good faith by them in accordance with the advice or opinion of any such counsel, accountants or other skilled persons.

8.06    Not Acting in Individual Capacity. Except as expressly provided in this Article VIII, in accepting the Trust hereby created, the Trustees act solely as trustee hereunder and not in their individual capacity, and all persons having any claim against the Trustees by reason of the transactions contemplated by this Agreement shall look only to the Trust Property for payment or satisfaction thereof.

8.07    Indemnity of Management Trustee. The Trust shall indemnity and hold harmless the Management Trustee from any claim, loss, expense, liability, action or damage resulting therefrom, including, without limitation, reasonable costs and expenses of litigation and appeal (including reasonable fees and expenses of attorneys engaged by the Management Trustee in its defense thereof); but the Management Trustee shall not be entitled to be indemnified or held harmless to the extent such claim, loss, expense, liability, action or damage results from fraud, bad faith, gross negligence, or willful misconduct.

8.08    Indemnity of Delaware Trustee. The Delaware Trustee or any officer, affiliate, director, employee, or agent of the Delaware Trustee (each an “Indemnified Person”) shall be entitled to indemnification from the Trust, to the fullest extent permitted by law, from and against any and all losses, claims, taxes, damages, reasonable expenses, and liabilities (including liabilities under state or federal securities laws) of any kind and nature whatsoever (collectively, “Expenses”), to the extent that such Expenses arise out of or are imposed upon or asserted against such Indemnified Persons with respect to the creation, operation or termination of the Trust, the execution, delivery or performance of this Trust Agreement or the transactions contemplated hereby; provided, however, that the Trust shall not be required to indemnify any Indemnified Person for any Expenses which are a result of the willful misconduct, bad faith or gross negligence of such Indemnified Person. The obligations of the Trust to indemnify the Indemnified Persons as provided herein shall survive the termination of this Trust Agreement.

 

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ARTICLE IX

COMPENSATION OF TRUSTEES

9.01    Trustees’ Fees and Expenses.

(a)    The Delaware Trustee (or any successor Delaware Trustee) shall be entitled to receive compensation from the Management Trustee or from the Trust for its services in accordance with such schedules as shall have been separately agreed to from time to time by the Delaware Trustee and the Management Trustee or the Trust. The Delaware Trustee may consult with counsel (who may be counsel for the other parties or for the Delaware Trustee). The reasonable legal fees incurred in connection with such consultation shall be reimbursed to the Delaware Trustee pursuant to this Section 9.01(a), provided that no such fees shall be payable to the extent that they are incurred as a result of the Delaware Trustee’s gross negligence, bad faith or willful misconduct.

(b)    The Management Trustee shall serve without compensation, other than with respect to its engagement as a Servicer.

(c)    The Trustees shall be entitled to be reimbursed by the Trust for their reasonable expenses hereunder, including, without limitation, the reasonable compensation, expenses and disbursements of such agents, representatives, experts and counsel as the Trustees may employ in connection with the exercise and performance of their rights and duties under this Agreement.

ARTICLE X

TERMINATION OF TRUST AGREEMENT

10.01    Termination by Management Trustee. If the Management Trustee determines in writing that dissolution of the Trust is necessary or desirable, then the Management Trustee shall, in compliance with such conditions precedent and other requirements as may be set forth in the Transaction Documents, terminate the Trust and distribute the Trust Property in accordance with Section 3808 of the Act. It is the express intent of this Trust Agreement that this Trust not terminate except when (x) such termination is necessary to prevent the loss of the Trust Property, or (y) the Management Trustee anticipates undertaking some other action that would, in the Management Trustee’s opinion, result in the Trust no longer being treated as an investment trust for federal income tax purposes.

10.02    Distribution of Trust Property.

(a)    The Management Trustee shall terminate the Trust by dissolving and winding up the Trust in accordance with Section 3808 of the Act and making distributions to the Holders.

10.03    Certificate of Cancellation. Upon the completion of winding up of the Trust, the Trustees shall cause a Certificate of Cancellation and any other documents required to be filed with the Delaware Secretary of State or Applicable Law and thereupon the Trust, and this Trust Agreement, shall terminate.

ARTICLE XI

SUCCESSOR TRUSTEES AND ADDITIONAL TRUSTEES

11.01    Removal and Resignation of a Trustee, Appointment of Successor.

(a)    The Delaware Trustee shall serve for the duration of the Trust and until the earlier of (i) the effective date of the Delaware Trustee’s resignation, or (ii) the effective date of the removal of the Delaware Trustee. The Delaware Trustee may resign at any time by giving thirty (30) days written notice to the each other Trustee; provided, however, said resignation shall not be effective until such time as a successor Delaware Trustee has accepted such appointment. The Delaware Trustee may be removed at any time by the Management Trustee by providing thirty (30) days written notice to the Delaware Trustee; provided, however, such removal shall not be effective until such time as a successor Delaware Trustee has accepted such appointment. Upon the resignation or removal of the Delaware Trustee, the Management Trustee shall appoint a successor Delaware Trustee. If no successor Delaware Trustee shall have been appointed and shall have accepted such appointment within forty five (45) days after the giving of such notice of resignation or removal, the Delaware Trustee may petition any court of competent jurisdiction for the appointment of a successor Delaware Trustee. Any successor Delaware Trustee appointed pursuant to this Section 11.01(a) shall be eligible to act in such capacity in accordance with this Agreement and, following compliance with this Section, shall become fully vested with the rights, powers, duties and obligations of its predecessor under this Trust Agreement, with like effect as if originally named as Delaware Trustee. Any such successor Delaware Trustee shall notify the Delaware Trustee of its appointment by providing a written instrument to the Delaware Trustee. At such time the Delaware Trustee shall be discharged of its duties herein.

 

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(b)     The Management Trustee may resign at any time without cause by giving at least 60 days prior written notice to each other Trustee, such resignation to be effective upon the acceptance of appointment by a successor Trustee or Trustees under Section 11.01(c) below. In case of the resignation of a Management Trustee, the Management Trustee shall appoint a successor Management Trustee. If a successor Management Trustee has not been appointed within 30 days after the giving of written notice by the Management Trustee of such resignation or the delivery of written notice, the Management Trustee or Beneficiary may apply to any court of competent jurisdiction to appoint a successor Management Trustee or Management Trustees to act until such time, if any, as a successor Management Trustee or Management Trustees shall have been appointed as provided above. Any successor Management Trustee or Management Trustees so appointed by such court shall immediately and without further act be superseded by any successor Management Trustee or Management Trustees appointed as above.

(c)    Any successor Trustee or Trustees, however appointed, shall execute and deliver to the predecessor Trustee an instrument accepting such appointment, the terms of this Trust Agreement and the terms of all Royalty Share Agreements in accordance with Section 11.01(e) below, and thereupon such successor Trustee, without further act, shall become vested with all the rights, powers, and duties of the predecessor Trustee in the Trust hereunder with like effect as if originally named the Trustee herein; but nevertheless, upon the written request of such successor Trustee, such predecessor Trustee shall execute and deliver an instrument transferring to such successor Trustee, upon the Trust herein expressed, all the rights, powers, and duties of such predecessor Trustee, and such predecessor Trustee shall duly assign, transfer, deliver and pay over to such successor Trustee all moneys or other property then held or subsequently received by such predecessor Trustee upon the Trust herein expressed.

(d)    Any successor Delaware Trustee, however appointed, shall be a bank, trust company, or corporation incorporated and having its principal office within Delaware or shall be a natural person who is a resident of Delaware.

(e)    Any successor Management Trustee, however appointed, shall succeed to all of the rights and obligations of the predecessor Management Trustee under all Royalty Share Agreements as if the successor Management Trustee was originally named the “Company” therein.

(f)    Any corporation into which the Trustee may be merged or converted or with which it may be consolidated, or any corporation resulting from any merger, conversion, or any consolidation to which the Trustee shall be a party, or any corporation to which substantially all the corporate trust may be transferred, shall be the Trustee under this Agreement without further act.

11.02    Appointment of Additional Trustees. At any time or times for the purpose of meeting any legal requirements of any jurisdiction in which any part of the Trust Property may at the time be located, the Management Trustee, by an instrument in writing, may appoint one or more individuals or corporations to act as a separate trustee of all or any part of the Trust Property to the full extent that Applicable Law makes it necessary or appropriate for such separate trustee to act alone.

ARTICLE XII

SINGLE PURPOSE INVESTMENT TRUST

12.01    Single Purpose Investment Trust. The Trust covenants and agrees that it has not since the date of its formation, and shall not, and the Trust and its Management Trustee shall not:

(a)    engage in any business or activity other than the ownership of Royalty Rights and activities incidental thereto;

(b)    acquire or own any material assets other than (i) Royalty Rights and (ii) any royalties, fees, and other income streams derived from such Royalty Rights;

(c)    merge into or consolidate with any Person, divide or otherwise change its legal structure (except for changes in structure in accordance with the terms and conditions of this Trust Agreement);

(d)    (i) fail to observe its organizational formalities or preserve its existence as a Delaware Statutory Trust and investment trust under the Treasury Regulations, or (ii) without the prior written consent of the Management Trustee, amend, modify, terminate or fail to comply with the provisions of the Transaction Documents;

 

14


(e)    fail to maintain its records (including financial statements), books of account, and Distributions in accordance with Applicable Law;

(f)    fail to provide information to be included on tax returns of any Beneficiary except as required by Applicable Law; and

(g)    to the extent the Royalty Rights collectively produce sufficient revenue, fail to maintain adequate capital for the normal obligations reasonably foreseeable in an investment trust of its size and character and in light of its contemplated activities.

ARTICLE XIII

MISCELLANEOUS

13.01    Supplements and Amendments. This Trust Agreement may be amended only by a written instrument signed by the Management Trustee and delivered to each of the Beneficiaries; provided, however, that any amendment shall not materially and adversely affect the rights of a Beneficiary under the Transaction Documents.

13.02    No Legal Title to Trust Property in Beneficiaries. The Beneficiaries shall not have legal title to any part of the Trust Property and shall only have a beneficial interest therein.

13.03    Limitations on Rights of Others. Nothing in this Trust Agreement, whether express or implied, shall be construed to give to any person other than the Grantor, the Trustees, and the Beneficiaries any legal or equitable rights, remedies, or claims under or in respect of this Trust Agreement.

13.04    Notices. Unless otherwise expressly specified or permitted by the terms hereof, all notices shall be in writing and delivered by hand or mailed by certified mail, postage prepaid or delivered via the JKBX Platform:

(a)    if to the Trustees, addressed to the address set forth in Exhibit A attached hereto, or to such other address as a Trustee may have set forth in a written notice to the Grantor and each Beneficiary pursuant to the requirements of this Section 13.04; or

(b)    if to the Grantor or any Beneficiary, delivered via the JKBX Platform or to the address set forth on such Beneficiary’s Royalty Share Agreement, or such other address as the Grantor or Beneficiary may have set forth in a written notice to the Trustees pursuant to the requirements of this Section 13.04.

Such notice shall be deemed given and such requirement satisfied 72 hours after such notice is mailed by certified mail, postage prepaid, addressed as provided above, or if delivered by hand, upon receipt, or if delivered via the JKBX Platform, upon such posting or delivery.

13.05    Arbitration. Any and all disputes or controversies arising under this Trust Agreement, or any of its terms, any effort by any party to this Trust Agreement or any Beneficiary to enforce, interpret, construe, rescind, terminate or annul this Agreement, or any provision thereof (including the determination of the scope or applicability of this Agreement to arbitrate), shall be determined by binding arbitration before a single arbitrator (who shall be a retired judge of a state

 

15


or federal court with experience in the entertainment industry). Any process in any such arbitration, action or proceeding commenced may be served upon any party to this Trust Agreement or any Beneficiary, among other methods, by personally delivering or mailing the same, via registered or certified mail, addressed to such party to this Trust Agreement or Beneficiary, as applicable. This arbitration provision applies to claims under the U.S. federal securities laws and to all claims that are related to the Company, the Trust and the Royalty Shares. The arbitration shall be administered by the Judicial Arbitration and Mediation Services pursuant to its Comprehensive Arbitration Rules and Procedures then in effect (or other mutually agreeable alternative dispute resolution service) and shall be conducted in New York, New York. The arbitrator shall issue a written decision that includes the essential findings and conclusions upon which the decision is based, which shall be signed and dated. Subject to the foregoing, THE PARTIES HEREBY WAIVE ANY RIGHTS THEY MAY HAVE TO TRIAL BY JURY IN REGARD TO CLAIMS SUBJECT TO ARBITRATION HEREUNDER. The arbitrator’s ruling in the arbitration shall be final and binding and not subject to appeal or challenge. Judgment on any award may be entered in any court having competent jurisdiction. The arbitration proceedings, testimony, discovery and documents filed in the course of such proceedings, including the fact that the arbitration is being conducted, will be treated as confidential and will not be disclosed to any third party to such proceedings, except the arbitrator(s) and their staff, the parties’ or Beneficiaries attorneys and their staff, and any experts retained by the parties or Beneficiaries. BENEFICIARIES WILL NOT BE DEEMED TO WAIVE THE COMPANY’S COMPLIANCE WITH THE FEDERAL SECURITIES LAWS AND THE RULES AND REGULATIONS PROMULGATED THEREUNDER. Further to the above, with respect to all persons and entities, all claims must be brought in the Party’s or Beneficiary’s individual capacity, and not as a plaintiff or class member in any purported class action, collective action, private attorney general action, or other representative proceeding. This waiver applies to class arbitration, and, unless the parties to this Trust Agreement and Beneficiaries agree otherwise, the arbitrator may not consolidate more than one person’s claims. The parties to this Agreement and the Beneficiaries agree that, by entering into or benefiting from this Agreement, such parties and Beneficiaries are each waiving the right to a trial by jury and to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.

13.06    Severability. Any provision of this Trust Agreement that is prohibited or unenforceable in any jurisdiction shall, as to such jurisdiction, be ineffective to the extent of such prohibition or unenforceability without invalidating the remaining provisions hereof, and any such prohibition or enforceability in any jurisdiction shall not invalidate or render unenforceable such provision in any other jurisdiction.

13.07    Separate Counterparts. This Agreement may be executed by the parties hereto in separate counterparts, each of which when so executed and delivered shall be an original, but all such counterparts shall together constitute but one and the same instrument.

13.08    Successors and Assigns. All covenants and agreements contained herein shall be binding upon, and inure to the benefit of the Grantor, the Trustees, and the Beneficiaries, and each of their respective permitted successors and assigns.

13.09    Headings. The headings of the various Articles and Sections herein are for convenience of reference only and shall not define or limit any of the terms or provisions hereof.

 

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13.10    Governing Law. This Agreement shall in all respects be governed by, and construed in accordance with, the laws of the State of Delaware (excluding conflict of law rules), including all matters of construction, validity and performance.

[Signatures set forth on the following pages.]

 

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IN WITNESS WHEREOF, the parties hereto have caused this Jukebox Hits Vol. 1 Delaware Statutory Trust Agreement to be duly executed, as of the day and year first above written.

 

GRANTOR:
JUKEBOX HITS VOL. 1 LLC, a Delaware limited liability company
By:  

 

Name:  

 

Title:  

 

MANAGEMENT TRUSTEE:
JUKEBOX HITS VOL. 1 LLC, a Delaware limited liability company
By:  

 

  Name:
  Title: Authorized Manager
DELAWARE TRUSTEE:
DELAWARE TRUST COMPANY
By:  

                     

  Name:
  Title: Authorized Officer


EXHIBIT A

ADDRESS OF TRUSTEES

Management Trustee

JUKEBOX HITS VOL. 1 LLC, a Delaware limited liability company

10000 Washington Blvd., Suite 07-134, Culver City, CA 90232

Delaware Trustee

DELAWARE TRUST COMPANY

251 Little Falls Drive, Wilmington, DE 19808, Attn: Corporate Trust


EXHIBIT B

 

GRANTOR

  

TRUST PROPERTY

  

CORRESPONDING

SERIES OF ROYALTY

SHARES

JUKEBOX HITS VOL. 1 LLC, a Delaware limited liability company    Income Interests acquired pursuant to that certain Purchase Agreement dated November 5, 2023 between the Company and Coda Songs LLC and any Net Royalties related thereto or derived therefrom.   

JKBX HITS VOL1 00005

  

JKBX HITS VOL1 00006

  

JKBX HITS VOL1 00007

  

JKBX HITS VOL1 00008

  

JKBX HITS VOL1 00010

  

JKBX HITS VOL1 00011

  

JKBX HITS VOL1 00012

  

JKBX HITS VOL1 00013

  

JKBX HITS VOL1 00014

  

JKBX HITS VOL1 00015

  

JKBX HITS VOL1 00016

  

JKBX HITS VOL1 00017

  

JKBX HITS VOL1 00019

  

JKBX HITS VOL1 00020

  

JKBX HITS VOL1 00021

  

JKBX HITS VOL1 00022

  

JKBX HITS VOL1 00023

  

JKBX HITS VOL1 00024

  

JKBX HITS VOL1 00026

  

JKBX HITS VOL1 00027

     

JKBX HITS VOL1 00028

     

JKBX HITS VOL1 00030

     

JKBX HITS VOL1 00031

     

JKBX HITS VOL1 00032

     

JKBX HITS VOL1 00033

     

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JKBX HITS VOL1 00035

     

JKBX HITS VOL1 00037

     

JKBX HITS VOL1 00038

     

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JKBX HITS VOL1 00040

     

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JKBX HITS VOL1 00057

     

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JKBX HITS VOL1 00059

     

JKBX HITS VOL1 00060

     

JKBX HITS VOL1 00061

     

JKBX HITS VOL1 00062

     

JKBX HITS VOL1 00063

     

JKBX HITS VOL1 00064

     

JKBX HITS VOL1 00065

     

JKBX HITS VOL1 00067

     

JKBX HITS VOL1 00068

     

JKBX HITS VOL1 00069

     

JKBX HITS VOL1 00070

     

JKBX HITS VOL1 00071

     

JKBX HITS VOL1 00072

     

JKBX HITS VOL1 00073

     

JKBX HITS VOL1 00075

     

JKBX HITS VOL1 00076

     

JKBX HITS VOL1 00077

     

JKBX HITS VOL1 00078

     

JKBX HITS VOL1 00079

     

JKBX HITS VOL1 00080

     

JKBX HITS VOL1 00081

     

JKBX HITS VOL1 00082

     

JKBX HITS VOL1 00084

     

JKBX HITS VOL1 00085

     

JKBX HITS VOL1 00086

     

JKBX HITS VOL1 00087

     

JKBX HITS VOL1 00088

     

JKBX HITS VOL1 00089

     

JKBX HITS VOL1 00090

     

JKBX HITS VOL1 00091

     

JKBX HITS VOL1 00093

     

JKBX HITS VOL1 00094

     

JKBX HITS VOL1 00095

     

JKBX HITS VOL1 00096

     

JKBX HITS VOL1 00098

     

JKBX HITS VOL1 00099

     

JKBX HITS VOL1 00100

     

JKBX HITS VOL1 00101

ADD EXHB 4 d462927daddexhb1.htm ADD EXHB ADD EXHB

Exhibit 6.5

FORM CUSTODY AGREEMENT

YOU SHOULD READ THE TERMS AND CONDITIONS OF THIS AGREEMENT CAREFULLY AS IT AFFECTS YOUR RIGHTS AND REMEDIES AS A CLIENT WITH ASSETS WITH BRASSICA TRUST COMPANY LLC (THE “CUSTODIAN”).

THE CUSTODIAN IS ACTING AS A CUSTODIAN FOR THE ASSETS OF CERTAIN INVESTORS. THE CUSTODIAN IS NOT A BANK OR OTHER STATE OR FEDERAL REGULATED FINANCIAL INSTITUTION IN THE BUSINESS OF ACCEPTING DEPOSITS.

EXCEPT TO THE EXTENT OTHERWISE NOTIFIED TO YOU BY THE CUSTODIAN, NO ASSETS CONVEYED TO THE CUSTODIAN WILL BE INSURED BY THE U.S. FEDERAL DEPOSIT INSURANCE CORPORATION (FDIC).

THE CUSTODIAN HAS NO FIDUCIARY DUTY, RESPONSIBILITY, OR LIABILITY TO ANY PERSON THAT DEPOSITS ASSETS WITH IT.

THE CUSTODIAN MAY HOLD SECURITIES AND U.S. DOLLARS.


Client Full Legal Name:  
Client Address:  

This Custody Agreement (“Agreement”) contains the terms and conditions that govern the services provided by Brassica Trust Company LLC, a Wyoming limited liability company (“Brassica” or “Custodian”) and is entered into by and between Brassica and Client named above and is effective as of the Client’s date of signature below (“Effective Date”). Custodian and Client are sometimes referred to herein individually as a “Party” and together as the “Parties”. The Parties agree as follows:

 

Section 1.

Definitions

For purposes of this Agreement and any exhibit or schedule hereto, the following terms will have the meanings ascribed to them below:

“Account(s)” means one or more custody accounts, controlled, and secured by the Custodian on behalf of the Client in accordance with this Agreement, to store certain Securities and Cash.

Affiliated Agent” means any affiliate of the Custodian.

Assets” means Securities and Cash that have been delivered to the Custodian to be credited to one or more Accounts established and maintained by the Custodian on behalf of the Client, in each case until such Assets are withdrawn pursuant to this Agreement.

Authenticated Instruction” means an Instruction that has been confirmed as originating from an Authorized Person through a video conference call, an email, an online transaction, the use of a mobile phone application or hardware security module, or other method of authentication in accordance with procedures specified by the Custodian from time to time as required to be used in connection with the services hereunder.

Authorized Agent” means any Person designated by the Client to act on behalf of the Client and identified on the Firm Authorized User Form(s).

Authorized Person” means the Persons identified on the Firm Authorized User Form(s) completed by the Client or the Authorized Agent.

Business Day” means any day on which the Federal Reserve Bank of Kansas City is open for business.

Cash” means U.S. dollars.

Credit Request(s)” means the applicable Proper Instructions sent by or on behalf of the Client to the Custodian to remove or receive certain Assets to its Account.

Cut-Off Time means a time specified by the Custodian from time to time on Business Days when the Custodian is open for business in the ordinary course.

Debit Request(s)” means the applicable Proper Instructions sent by or on behalf of the Client to the Custodian to add or receive certain Assets to its Account.

Force Majeure Event” means any event due directly or indirectly to any cause or condition beyond the reasonable control of the Custodian, such as, but not limited to: changes in the functioning or features of Eligible Assets or the software protocols that govern their operation; sabotage or fraudulent manipulation of the protocols or network that govern Eligible Assets; changes in applicable Law; cybersecurity attacks, hacks or other intrusions; a System Failure; suspension or disruption of trading markets; requisitions; involuntary transfers; failure of utility services; fire; flooding; adverse weather or events of nature; explosions; acts of God, pandemics, epidemics, civil commotion, strikes or industrial action of any kind; riots, insurrection, terrorist acts; war (whether declared or undeclared); or acts of government or government agencies (U.S. or foreign).

Governmental Authority” means any governmental body at the supranational, national, state, county, province, city, municipal, local or any other level, any agency, authority, instrumentality, regulatory body, quasi-regulatory authority, administrative tribunal, central bank, public office, court, arbitration or mediation panel, or other entity or subdivision exercising executive, legislative, judicial, taxing, regulatory or administrative powers or functions of government, securities exchange or self-regulatory organization, in each case in any jurisdiction.


Instructions” mean communications, including entitlement orders, received by the Custodian through an on-line communication system, by e-mail, or other method or system, as specified by the Custodian from time to time as available for use in connection with the services hereunder.

Law” means each of the following, including any updates thereto throughout the Term, to the extent applicable: any and all supranational, national, state, provincial or local laws, treaties, rules, regulations, regulatory guidance, directives, policies, orders or determinations of (or agreements with), and mandatory written direction from (or agreements with), any Governmental Authority or other regulatory authority, including export laws, sanctions regulations, and all federal and state statutes or regulations relating to banking, stored value, money transmission, unclaimed property, payment processing, telecommunications, unfair or deceptive trade practices or acts, anti-corruption, trade compliance, anti-money laundering, terrorist financing, “know your customer,” securities, commodities, derivatives, other financial products or services, privacy or data security.

Person” means any natural person, corporation, general partnership, limited partnership, limited liability company, joint venture, trust, proprietorship, governmental body or other entity, association, or organization of any nature. Any reference herein to any Person will be construed to include such Person’s successors and assigns.

Platform Provider” means the third-party hosted application that electronically refers the Client to the Custodian for access to the services hereunder.

Proper Instructions” means: (a) With respect to Debit Requests, an Authenticated Instruction delivered by an Authorized Person (or Person that the Custodian believes in good faith to be an Authorized Person) that is confirmed by an Authenticated Instruction from at least one additional Authorized Person (or Person that the Custodian believes in good faith to be an Authorized Person); (b) With respect to Credit Requests, an Authenticated Instruction delivered by an Authorized Person (or Person that the Custodian believes in good faith to be an Authorized Person); (c) With respect to sale or purchase orders of any Asset, an Instruction delivered by an Authorized Person (or Person that the Custodian believes in good faith to be an Authorized Person) through the user interface specified by the Custodian to submit sale or purchase orders for Assets; and (d) With respect to requests not involving the transfer of any Assets, an Instruction delivered by an Authorized Person (or Person that the Custodian believes in good faith to be an Authorized Person).

Securities” means, without limitation, common stock and other equity securities, bonds, debentures and other debt securities, notes, mortgages and other obligations, or any other security, and any instruments representing rights to receive, purchase, or subscribe for the same, or representing any other rights or interests therein.

System Failure” means a failure of any computer hardware or software used by the Custodian or a service provider to the Custodian, or any telecommunications lines or devices used by the Custodian or a service provider to the Custodian.

Taxes” means all federal, state, local, foreign, and other taxes, government fees or the like, including, without limitation, income taxes, estimated taxes, alternative minimum taxes, franchise taxes, capital stock taxes, sales taxes, use taxes, ad valorem, or value-added taxes, employment and payroll-related taxes, withholding taxes, and transfer taxes, whether or not measured in whole or in part by net income, and all deficiencies, or other additions to tax, interest thereon, and fines and penalties imposed in connection therewith.

Trade Order means a sale or purchase order in the form of Proper Instructions.

 

Section 2.

Appointment of Custodian and Accounts

2.1 Appointment of Custodian. Client hereby appoints Custodian to perform the services specified hereunder pursuant to the terms and conditions set out herein, and Custodian hereby accepts such appointment pursuant to the terms and conditions set out herein. The Custodian is a Wyoming-chartered public trust company and will be agent or principal with respect to any actions taken by the Custodian with respect to the purchase and sale services pursuant to Section 4 of this Agreement, subject to Section 12.4(g).

2.2 Establishment of Accounts. The Client authorizes, approves, and directs the Custodian to establish and maintain on its books, in the name of the Client, pursuant to the terms of this Agreement one or more Accounts. The establishment of the Accounts in the name of the Client will be subject to successful completion of the Custodian’s screening procedures, as determined by the Custodian in its sole discretion.

2.3 Treatment of Assets

(a) Cash held for the Client in Account(s) may be held by the Custodian in an omnibus, non-interest bearing cash account, along with the Cash of other customers of the Custodian. The Custodian may hold Cash in an Account subject to and in accordance with applicable local Law, rules, or practices. The Client hereby acknowledges and agrees that the Custodian will have no right, interest, or


title to any Cash that the Client elects to store with the Custodian, and that any such Cash will not be an asset on the balance sheet of the Custodian. In addition, the Client hereby acknowledges and agrees that the Custodian may hold any Cash received by it from or on behalf of the Client in one or more omnibus bank accounts, at depository institutions or in money market accounts, in each case at the Custodian’s sole discretion. Each omnibus account constitutes a banking relationship between the Custodian and a depository institution and does not constitute a custodial relationship between the Custodian and such depository institution and does not create or represent any relationship between the Client and any such depository institution. In addition, any money market account will be in the name of the Custodian and will be maintained separately and apart from the Custodian’s business, operating, and reserve accounts. Any such money market account will constitute an investment account between the Custodian and the asset management firm of such money market account and will not create or represent any relationship between Client and any asset management firm.

(d) The Parties acknowledge and agree that each Asset held in the Account(s) is treated as required under applicable Law. The Parties acknowledge and agree that all Assets held in custody by the Custodian, and all transactions related to the Assets, will be in the State of Wyoming.

2.4 [Reserved]

2.5 Acceptance and Holding of Assets

(a) All Assets held hereunder may be registered in the name of Custodian, any entity authorized to hold Assets pursuant to this Agreement or any nominee of the Custodian or any such authorized entity.

2.6 Designation and Segregation of Assets. The ownership and custody of all of the Client’s Assets will be recorded in the Custodian’s books and records as required under applicable Law.

 

Section 3.

Transfers of Assets

3.1 Transfers of Cash

(a) Cash Credits. Subject to the terms of this Agreement, the Client may transfer Cash into the Client’s Account from a third-party bank account or a third party by sending the Custodian a Cash Credit Request.

(i) Upon receiving the Cash Credit Request and verifying that such request complies with Section 5.2, the Custodian will complete any transfer to the Account within two Business Days after receipt of the Cash Credit Request. If a Cash Credit Request is received after the Cut-off-Time, such transfer will be completed within two Business Days of the following Business Day.

(ii) The Custodian will not accept, for the benefit of Client, Cash credits from third parties. Cash credits will only be accepted from banks that have been approved through Custodian’s BSA/AML program and are in the name of an individual or an institution named on the related Account. This prohibition may be modified by mutual written agreement of Client and the Custodian in order to accommodate Client’s receipt of Cash credits from its subscribers and may be subject to additional terms, conditions, and fees.

(b) Cash Debits. Subject to the terms of this Agreement, the Client may transfer Cash from the Account to an account at a third-party bank established and maintained in the name of the Client or in the name of a third party by sending the Custodian a Cash Debit Request.

(i) Upon receiving the Cash Debit Request and verifying that such request complies with Section 5.2, the Custodian will complete any transfer from the Account within two Business Days after receipt of the Cash Debit Request. If a Cash Debit Request is received after the Cut-off Time, such transfer will be completed within two Business Days of the following Business Day.

(ii) Such transfer may only be effected via wire transfer or ACH.

(iii) Cash debits are only permitted to bank accounts that have been approved through Custodian’s BSA/AML program and are in the name of an individual or an institution named on the recipient’s account.

3.2 Transfers of Securities

(a) Securities Credits. Subject to the terms of this Agreement, the Client may transfer Securities from itself, an external provider, or other third parties to the Account. Prior to any such transfer, the Client will send the Custodian a Securities Credit Request. The Custodian is not obligated to credit any securities to the Account before the Custodian actually receives such Securities by final settlement.


(i) Upon receiving a Securities Credit Request and verifying the transferred securities and that such request complies with Section 5.2, the Custodian will provide the Client with settlement instructions, including specific account details and delivery instructions. The Client will initiate the transfer by instructing their current holding institution or broker to deliver the Securities to the Custodian. The transfer will be executed following established industry practices and relevant regulations.

(ii) The Custodian will reconcile the received Securities with the Client’s Account records and confirm the successful transfer to the Account.

(b) Securities Debits. Subject to the terms of this Agreement, the Client may initiate the transfer of securities from the Account by sending the Custodian a Securities Debit Request.

(i) Upon receiving the Securities Debit Request and verifying the request complies with Section 5, the Custodian will provide the Client with settlement instructions for the requested transfer. The Client will follow the provided instructions to initiate the transfer from the Account.

(ii) The Custodian will provide the Client with a confirmation of the pending debit transaction.

(iii) If a Securities Debit Request would result in the transfer of Securities exceeding the available balance in the Account, the Custodian may reject such instructions at its sole discretion.

(c) Risk in Relation to Securities Transactions. The Client will bear the sole risk and expense associated with the transfer of Securities, including any delays or inability to achieve final settlement as required by this Agreement. The Custodian will follow established industry practices and relevant regulations to facilitate the timely settlement of securities transactions. However, the Custodian will not be liable for any delays or failures in settlement arising from circumstances beyond its reasonable control or that are attributable to the actions or omissions of third parties involved in the settlement process. The Client acknowledges that the settlement of Securities may involve intermediary entities, such as clearinghouses, depositories, or transfer agents, and that the Custodian’s role is limited to the custody and transfer of the Securities as instructed by the Client.

3.3 Request for Additional Information. The Client will promptly provide to the Custodian any additional information requested regarding the source or ownership of the Assets subject to a Credit Request or the recipient of Assets subject to a Debit Request.

3.4 Transfer Fees. Transfers of Assets to and from any and all Accounts are subject to the fees in the Fee Schedule.

3.5 Transaction Limits. The Custodian may, for risk management or other reasons, impose limits on the number or size, or both, of transactions processed for the Client under this Section 3.

 

Section 4.

Purchase and Sale of Assets

4.1 At the Direction of the Client. At the direction of the Client, the Custodian may: (a) exchange Securities for other Securities and/or Cash in connection with any conversion privilege, reorganization, redemption in bind, consolidation, tender offer or exchange offer, or any exercise or subscription, purchase or other similar rights represented by Securities and/or Cash; and/or (b) to the extent, applicable, exercise voting or similar rights attributable to Securities and/or Cash in the Accounts.

4.3 Execution and Order Fulfillment. The Custodian may execute and fulfill the Client’s Trade Orders. The Custodian’s execution and settlement of Trade Orders is subject to available liquidity and market conditions generally. The Custodian reserves the right to cancel or reject any Trade Order, in whole or in part, for any reason.

4.4 Settlement Services. The Custodian may offer settlement services (the “Settlement Services”) that facilitate the settlement of transactions of Securities or Cash between Client and Client’s trade counterparty that also has an Account with Custodian (a “Settlement Partner”). Client acknowledges that the Settlement Service, if offered, is an application programming interface (API) product complemented by a web user interface (UI). If offered, Client may utilize the Settlement Services by way of a number of options, including settlement of one-sided requests with counterparty affirmation; one-sided requests with instant settlement; and two-sided requests with reconciliation. Settlement transactions are subject to all applicable Laws and the rules and regulations of all federal, state and self-regulatory agencies.

 

Section 5.

Instructions

5.1 Authorized Persons and Authorized Agents. Subject to approval by the Custodian, an Authorized Person is authorized to act on behalf of the Client in the performance of those acts or duties specified for each such person from time to time in the Firm Authorized User Form(s). The Client, or Authorized Agent acting on behalf of the Client, may, from time to time, add to or remove names from the list of Authorized Persons maintained by the Custodian, or change the authorizations granted to any Authorized Person, by delivery of a new or revised Firm Authorized User Form to the Custodian. If at any time there are no Authorized Persons designated by the Client or the Authorized Agent, the president/chief executive officer and chief financial officer of the Client if it is a legal entity, will be deemed Authorized Persons hereunder.


5.2 Custodian Reliance on Instructions. The Custodian may act upon and rely upon any Proper Instruction received from, or believed in good faith by the Custodian to be received from, an Authorized Person, that have been validated in accordance with procedures the Custodian may put in place from time to time, unless or until the Custodian has (a) received written notice of any change thereto from the Client and (b) had a reasonable time to note and implement such change.

5.2 Validation of Instructions. Validation procedures used by the Custodian are designed only to verify the source of the Instruction and not to detect errors in the content of that Instruction or to prevent duplicate Instructions.

5.3 Rejection of Instruction. The Custodian may reject or decide, in its sole and absolute discretion, not to act on any Instruction to transfer Assets (a) based on the Custodian’s applicable policies and procedures, including the results of the Custodian’s transaction monitoring and screening procedures, (b) where it reasonably doubts such Instruction’s contents, authorization, origination or compliance with the Custodian’s policies and procedures, (c) where it reasonably believes that acting on the Instruction could: (i) require it to register or qualify as a regulated entity, (ii) violate or facilitate the violation of any Law, or (iii) subject the Custodian to any financial or other liability, and, in each case, the Custodian covenants to promptly notify the Client of its decision in such instance if permitted to do so by Law, or (iv) in order to give effect to transaction limits imposed in accordance with Section 3.5. In the event the Custodian will receive conflicting Instructions from the Client or any Authorized Person, the Custodian will be entitled, at its option, to refrain from taking action until such conflicting Instructions are reconciled to its reasonable satisfaction.

5.4 Platform Provider Instructions. Unless otherwise directed by the Client, the Client expressly acknowledges and agrees that the Platform Provider may act as an Authorized Agent to act on behalf of the Client even if not expressly listed on the Firm Authorized User Form(s). Any Instructions received by the Custodian, whether electronically or otherwise, from the Platform Provider shall be deemed as Proper Instructions. If the Client restricts the Platform Provider’s authority to act as an Authorized Agent, certain functions performed on behalf of the Client by the Platform Provider will be limited.

5.5 Responsibility for and Limitations on Instructions.

(a) The Client is responsible for any Instructions given to the Custodian or on which the Custodian is entitled to rely hereunder, whether or not properly authorized by the Client. The Custodian will have no duty or responsibility to inquire into, make recommendations, or determine the suitability of any Instructions or transactions affecting the Account(s).

(b) The Client agrees that the Custodian will have no obligation to act in accordance with purported Instructions to the extent that they conflict with applicable Law.

(c) The Custodian will not be liable for any loss resulting from a delay while it obtains clarification of any Instructions.

(d) The Client agrees that the Custodian is not responsible for any errors made by or on behalf of the Client, any errors resulting, directly or indirectly, from fraud or the duplication of any Instruction by or on behalf of the Client, or any losses resulting from the malfunctioning of any devices used by the Client or loss or compromise of credentials used by the Client to deliver Instructions.

5.6 Acknowledgment of Risk. The Client expressly acknowledges and agrees that the use of electronic communication systems to convey Instructions does not eliminate the risk of error and fraudulent activities or security and privacy issues.

5.7 English. Instructions are to be given in the English language only.

5.8 Cut-Off Times. The Custodian may act on Instructions only within Cut-Off Times.

 

Section 6.

Performance by the Custodian

6.1 Custodial Duties Requiring Instructions. The Custodian will carry out any of the following actions only upon receipt of specific Proper Instructions, delivered in accordance with Section 5, authorizing and requesting same:

(a) Receive or deliver any Assets, except as otherwise specifically provided for in this Agreement; and

(b) Carry out any action affecting Assets or the Account(s), other than those specified in Section 6.2 below; provided, however, that each instance will be subject to the prior approval and agreement of the Custodian.


6.2 Non-Discretionary Custodial Duties. Absent a contrary Proper Instruction, the Custodian will be permitted, and is hereby authorized and directed by Client to, and may authorize subcustodians or depositories to, carry out any of the following actions without any further Proper Instructions or approval by or on behalf of Client:

(a) In the Client’s name or on its behalf, sign any affidavits, certificates of ownership and other certificates and documents relating to Assets which may be required (i) to obtain any Assets, or (ii) by any tax or regulatory authority having jurisdiction over the Assets or the Account(s);

(b) Notify the Client of notices, circulars, reports and announcements that require discretionary action, in each case, which the Custodian has received in the course of acting in the capacity of custodian of any Assets held on the Client’s behalf; and

(c) Attend to all non-discretionary matters in connection with anything provided in this Section 6.2 or any Instruction.

6.3 Use of Third Parties. The Custodian may perform any of its duties or obligations under this Agreement through depositories, subcustodians, subcontractors or agents (including its affiliates), whenever and on such terms and conditions as it deems necessary or advisable to perform such duties or obligations or liabilities. The Custodian will act in good faith and use reasonable care in the selection and continued appointment of unaffiliated depositories, subcustodians, subcontractors or agents.

6.4 Reporting. The Custodian will provide to Client quarterly account statements identifying the Assets in the Account(s) on a quarterly basis and setting forth all transactions in the Account(s) during such quarter. Upon written request from the Authorized Agent, the Custodian will also provide copies of quarterly account statements to the Authorized Agent.

6.5 Independent Verification. If the Client is subject to Rule 206(4)-2 under the Investment Advisers Act of 1940, as amended, the Custodian will, upon written request, provide the Client with authorized independent public accountant confirmation of or access to information sufficient to confirm that (i) the Client’s Assets as of the date of an examination conducted pursuant to Rule 206(4)-2(a)(4), and (ii) the Client’s Assets are held either in a separate account under the Client’s name or in accounts under the Client’s name as agent or trustee for the Client’s clients.

6.6 Security. The Custodian may take such steps that it determines, in its sole discretion, may be necessary or advisable to inspect and protect the security of the Assets and the Accounts or to enhance the Custodian’s ability to secure the Assets or the Accounts, including cancelling, interrupting, terminating or suspending any or all of the Custodian’s services and operations hereunder and the Client’s access to the Custodian’s services and operations, to any Assets or to the Accounts. The Custodian may from time-to-time review and amend its policies and procedures or impose such additional policies and procedures as the Custodian, in its sole discretion, considers necessary or advisable to enhance the Custodian’s ability to secure the Assets or the Accounts.

7. Taxation

7.1 Client’s Tax Obligations. The Client will, for all tax purposes, be treated as the owner of all Assets held by the Custodian pursuant to this Agreement. It is the Client’s sole responsibility to determine whether and to what extent Taxes and Tax reporting obligations may apply to the Client with respect to its Assets, Accounts, and transactions, and the Client will timely pay all such Taxes and will file all returns, reports, and disclosures required by applicable Law.

7.2 Tax Information. Upon execution of this Agreement, as well as upon request of the Custodian, the Client will promptly provide the Custodian with all forms, certifications, documentation, representations and warranties and any other information as the Custodian may request (“Account Tax Documentation”), including a duly completed and executed W-9 or W-8 (both available at www.irs.gov), as applicable, as to the Client’s and/or the Client’s underlying beneficial owners’ tax status and/or residence. The Client warrants that, when given, such Account Tax Documentation is true, complete and correct. If any such Account Tax Documentation becomes inaccurate, incorrect or obsolete, the Client will notify the Custodian immediately and promptly provide updated Account Tax Documentation. The Client understands that the Custodian may disclose any information with respect to Client Assets, Accounts and transactions required or requested by any applicable taxing authority or other governmental entity.

7.3 Payments; Indemnity. Custodian is authorized to deduct and/or withhold Taxes, including Taxes arising as a result of the Client’s failure to provide Account Tax Documentation pursuant to Section 7.2 above, from Client’s Assets, Accounts, or other property of the Client and remit such amounts to the relevant taxing authority. If any Taxes become payable with respect to any prior payment made to the Client by the Custodian, the Custodian may withhold any cash or other property of the Client held or received with respect to Client’s Assets, Accounts, or other property in satisfaction of such prior Taxes. The Client will remain liable for any Tax deficiency. If Taxes are required to be deducted or withheld from any payments made by the Client to Custodian, the Client will pay such additional amounts as are necessary so that Custodian receives a net amount equal to the amount Custodian would have received absent such withholding or deduction. Without limiting Section 14 hereof, the Client will indemnify and hold the Custodian harmless from and against any and all liabilities, penalties, interest or additions to tax with respect to, or resulting from, any delay in, or failure by, the Custodian to pay, withhold or report any Taxes imposed on Client’s Assets, Accounts, cash or other property.


8. [Reserved]

 

Section 9.

[Reserved]

 

Section 10.

[Reserved]

 

Section 11.

Representations and Warranties

11.1 Mutual Representations and Warranties. Each Party hereto represents and warrants to the other Party, as of the date this Agreement, that:

(a) If it is a legal entity, it is duly organized and in good standing in its jurisdiction of formation;

(b) It has the requisite power and authority to execute this Agreement and to perform its obligations hereunder;

(c) It has taken all necessary action to authorize the execution and delivery of this Agreement and the consummation of the transactions contemplated hereby;

(d) This Agreement, when executed and delivered, will be its legal, valid and binding obligation, enforceable against it in accordance with its terms, except as such enforceability may be limited by applicable bankruptcy or other similar laws;

(e) Any consent, authorization or Instruction required in connection with its execution and performance of this Agreement has been provided by any relevant third party;

(f) Any act reasonably required by any relevant governmental or other authority to be done in connection with its execution and performance of this Agreement has been or will be done (and will be renewed if necessary); and

(g) Neither the execution nor performance of this Agreement by such Party will materially breach any applicable Law, contract or other requirement to which such Party is bound.

11.2 Client Representations and Warranties. In addition to the general representations set forth in Section 11.1 hereof, the Client also represents, warrants and covenants to the Custodian that:

(a) its primary address (or principal place of business if Client is an entity) is true, and it will notify the Custodian before changing its address or principal place of business to another jurisdiction;

(b) It has the requisite power and authority to deposit the Assets in the Account(s);

(c) Any factual information heretofore or contemporaneously furnished by or on behalf of the Client in writing to the Custodian for purposes of or in connection with the services contemplated by this Agreement is true and accurate in all material respects on the date as of which such information is dated or certified and not incomplete by omitting to state any fact necessary to make such information not misleading in any material respect at such time; provided that, with respect to forecasts or projections, the Client represents only that such information was prepared in good faith based upon assumptions believed to be reasonable at the time;

(d) There is no claim pending, or to the Client’s knowledge, threatened, and no encumbrance or other lien, in each case, that may adversely affect any delivery of Assets made in accordance with this Agreement;

(e) It has not relied on any oral or written representation or warranty made by the Custodian or any other person on the Custodian’s behalf, other than those explicitly set forth in Section 11.1 thereof;

(f) It owns the Assets in the Account(s) free and clear of all liens, claims, security interests and encumbrances (except those granted herein) and it has all rights, title and interest in and to the Assets in the Account(s) as necessary for the Custodian to perform its obligations under this Agreement;

(g) [Reserved];

(h) It is not, and no transferor or transferee of Assets pursuant to any Credit Request or Debit Request is: (i) the target of any economic, financial or trade sanctions or embargoes, export controls or other restrictive measures imposed by the United States of America (including those administered by the United States Department of the Treasury’s Office of Foreign Assets Control), the European Union, any member state of the European Union, the United Kingdom or the United Nations (the “Sanctions”), or (ii) located, organized or resident in a country or territory with which dealings are broadly restricted or prohibited by any Sanctions (any such country, territory, entity or individual described in this clause (h), a “Sanctioned Party”);


(i) The Client does not know or have any reason to suspect that (i) any part of the Assets are or will be derived from, held for the benefit of, or related in any way to transactions with or on behalf of, any Sanctioned Party, and (ii) any Sanctioned Party has or will have any legal or beneficial interest in the Client or any of the Assets;

(j) The Client does not know or have any reason to suspect that (i) any part of the Assets was derived from unlawful activities, or (ii) any part of the Assets or proceeds of the Assets will be used to finance any unlawful activities;

(k) If the Client is a non-U.S. banking institution (a “Non-U.S. Bank”) or is holding its security entitlement to the Assets credited to the Account(s) directly or indirectly on behalf of or for the benefit of a Non-U.S. Bank, such Non-U.S. Bank (i) maintains a place of business at a fixed address, other than solely a post office box or an electronic address, in a country where the Non-U.S. Bank is authorized to conduct banking activities; (ii) at such location, employs one or more individuals on a full-time basis; (iii) maintains operating records related to its banking activities; (iv) is subject to inspection by the banking authority that licensed the Non-U.S. Bank; and (v) does not provide banking services to any other Non-U.S. Bank that does not have a physical presence in any country and that is not a registered affiliate of such Non-U.S. Bank;

(l) If the Client is an entity holding its security entitlement to the Assets credited to the Account(s) on behalf of third parties, (i) the Client is in compliance in all material respects with Sanctions and, as applicable to the Client, the U.S. Bank Secrecy Act, as amended, the U.S. Money Laundering Control Act of 1986, as amended, the Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism Act of 2001, as amended, the Anti-Money Laundering Act of 2020, as amended, or any similar U.S. federal, state or foreign law or regulation, (ii) the Client has anti-money laundering policies and procedures in place reasonably designed to verify the identity of its customers and investors and their sources of funds, and (iii) the Client has established the identities of and conducted thorough due diligence with respect to all of its customers or investors who beneficially own or will beneficially own, directly or indirectly, any of the Assets;

(m) It acknowledges that the Custodian may, with or without prior notice to the Client, freeze the Client’s Accounts, or any other Assets of the Client in the Custodian’s possession or control, including, but not limited to, prohibiting transfers, declining any Credit Request or Debit Request and/or segregating Assets or property, if the Custodian determines, suspects, or is advised that such actions are necessary or advisable to comply with any applicable anti-money laundering, OFAC or other laws or regulations in any relevant jurisdiction. The Client acknowledges that the Custodian may be required to report transactions that raise suspicions of money laundering or OFAC violations and to disclose the identity of the Client and any related parties to appropriate government authorities;

(n) It does conduct and intends to continue to conduct its business in material compliance with all applicable Laws, and has obtained all regulatory licenses, approvals and consents necessary to carry on its business as now conducted; without limiting the generality of the foregoing, it will not use the services provided by Custodian hereunder in any manner that is, or would result in, a violation of any applicable Law;

(o) It is aware of and familiar with, and has been fully informed of, the risks associated with giving Proper Instructions, and is willing to accept such risks, and it will (and will cause each Authorized Person to) safeguard and treat with extreme care any devices or credentials related to Proper Instructions, understands that there may be alternative methods of giving or delivering the same than the methods selected by the Custodian, agrees that the security procedures (if any) to be followed in connection therewith provide a commercially reasonable degree of protection in light of its particular needs and circumstances, and acknowledges and agrees that a deposit or withdrawal request may conclusively be presumed by the Custodian to have been given by Authorized Person(s) duly authorized to do so, and may be acted upon as given;

(p) [Reserved];

(q) [Reserved]; and

(r) if the Client is legal entity and to the extent applicable, the aggregate interest in any class of shares of the Client held by benefit plan investors (as such term is interpreted under The Employee Retirement Income Security Act of 1974, as amended (“ERISA”)), will not at any time equal or exceed twenty-five percent of the outstanding shares of such class and the Client will not permit the assets of the Client to be deemed assets of an employee benefit plan that is subject to ERISA.

11.3 Custodian Representations and Warranties. The Custodian represents to the Client that the Custodian is a Wyoming-chartered public trust company pursuant to Wyo. Stat. § 13-5-501 et. seq. and is authorized to engage in all activities described in Wyo. Stat. § 13-5-510.


Section 12.

Scope of Custodian’s Responsibilities; Limitations

12.1 Standard of Care. The Custodian will use commercially reasonable efforts in performing its obligations under this Agreement. Subject to the terms of this Agreement, the Custodian will not be responsible for any loss or damage suffered by Client as a result of the Custodian performing such duties unless the same results from an act of fraud, willful default or gross negligence on the part of the Custodian. The Custodian will not be responsible for the title, validity or genuineness of any Assets (or any evidence of title thereto) received or delivered by it pursuant to this Agreement.

12.2 No Investment Advice. Custodian does not provide investment, tax, or legal advice, nor does Custodian broker transactions on Client’s behalf. Client acknowledges that Custodian has not provided any advice or guidance or made any recommendations to Client with regard to the suitability or value of any Assets, and that Custodian has no liability regarding any selection of an Asset that is held by Client. All transactions are executed based on Client’s Instructions, and Client is solely responsible for determining whether any investment, investment strategy, or related transaction involving Assets is appropriate for Client based on Client’s personal investment objectives, financial circumstances, and risk tolerance. Client should consult its investment, tax, or legal professional regarding Client’s specific situation.

12.3 Limitations on Losses

(a) In no event will the Custodian be responsible or liable for any loss, claim or damage suffered by the Client, except to the extent of a final, non-appealable judicial determination that such loss, claim or damage directly resulted from the gross negligence, willful misconduct, or fraud of the Custodian. In the event of such final, non-appealable judicial determination, the liability of the Custodian will not exceed the lesser of: (a) the replacement cost of any Assets, and (b) the market value of the Assets (as determined by the Custodian) to which such loss or damage relates at the time the Client reasonably should have been aware of such gross negligence, willful misconduct, or fraud. In the event of any loss sustained by the Client for which the Custodian is finally adjudicated, after exhaustion of all potential appeals, that it is liable hereunder, the liability of the Custodian will be reduced to the extent that the Client’s own negligence contributed to such loss.

(b) The Custodian will not be liable for any loss caused, directly or indirectly, by (a) the failure of the Client to adhere to the Custodian’s policies and procedures that have been disclosed to the Client, (b) a Force Majeure Event or (c) any action taken pursuant to Section 6.5.

(c) Under no circumstances will the Custodian be liable to the Client for (a) acting in accordance with or conclusively relying upon any Instruction that it believes in good faith to have been authorized by the Client or any Person acting on behalf of the Client, or (b) any indirect, consequential, incidental, special or punitive loss or damage, even if the Custodian has been advised of or otherwise might have anticipated the possibility of such loss or damage.

(d) The Custodian will not be responsible or liable to the Client for any loss caused, directly or indirectly, by (a) any failure or delay to act by any service provider to the Custodian or (b) any System Failure (other than a System Failure caused by the gross negligence, misconduct or fraud of the Custodian or the Custodian’s affiliates), that prevents the Custodian from fulfilling its obligations under this Agreement.

12.4 Limitations on the Custodian’s Responsibility

(a) General. The Custodian will only be responsible for the performance of those duties as are expressly set forth herein, including acting in accordance with any Proper Instructions given in accordance with this Agreement. The Custodian will have no implied duties or other obligations whatsoever. The Custodian will not be subject to, nor required to comply with, any other agreement to which the Client is a party.

(b) No Liability for Third Parties. The Custodian, provided that the Custodian will have acted in good faith and used reasonable care in the selection and continued appointment of the third party and subject to clause (c) below, is not responsible or liable for the acts, omissions, defaults, insolvency, negligence, gross negligence, misconduct or fraud of any third party selected by the Custodian to perform any of its duties or obligations under this Agreement, including any agent, depository, subcontractor or subcustodian. In addition, in no event will the Custodian be responsible or liable for the acts, omissions, default, insolvency, negligence, gross negligence, misconduct or fraud of any other third party that is not an Affiliated Agent, including any exchange, liquidity provider, counterparty, or third-party vendor.

(c) Sole Obligations of the Custodian. The Client understands and agrees that notwithstanding any delegation by the Custodian of any of its obligations and duties to an Affiliated Agent, no such agreement with any Affiliated Agent will discharge the Custodian from its obligations hereunder, and the rights of the Client with respect to the Custodian extend only to the Custodian and do not extend to any Affiliated Agent of the Custodian. The Client will have no direct or indirect rights or causes of action against any Affiliated Agent, nor will any Affiliated Agent have any responsibility or liability to any Client of the Custodian.


(d) Performance Subject to Laws. The Client understands and agrees that the Custodian’s performance of this Agreement may be subject to relevant Laws and any rules, operating procedures, practices, and protocols related to the Assets, all of which may be subject to change. The Custodian may from time-to-time review and amend its policies and procedures or impose such additional policies and procedures as the Custodian, in its sole discretion, considers necessary or advisable due to change in any Law, including any Law related to the Assets.

(e) Preventing Performance. The Custodian will not be responsible for any failure to perform any of its obligations if such performance is prevented, hindered, or delayed by a Force Majeure Event, by changes in the Custodian’s policies or procedures made in the Custodian’s sole discretion in light of legal, regulatory, operational, security or reputational risks. In such a case, the Custodian’s obligations will be suspended for so long as the Force Majeure Event continues or any change in the Custodian’s policies or procedures remains in effect.

(f) Validity of Assets. The Custodian does not warrant or guarantee the form, authenticity, value, or validity of any Asset received by the Custodian.

(g) No Fiduciary Duties. The Custodian has no fiduciary duty, responsibility, or liability to the Client in any respect, including with respect to the Cash held in the held in the Account under this Agreement (irrespective of whether an affiliate of the Custodian has provided other services or is currently providing other services to the Client on other matters).

(h) Forwarded Information; Contents of Documents. The Custodian is not responsible for the form, accuracy, or content of any notice, circular, report, announcement or other material provided under Section 6.2(a) of this Agreement not prepared by the Custodian and the Custodian will not be required to make any investigation into the facts or matters stated in any certificate, report, or other document.

(i) Reliance on Counsel. The Custodian may consult with legal counsel(s) of its own choosing as to any matter relating to this Agreement, and the Custodian will not incur any liability with respect to anything done or omitted by it in accordance with any advice from such counsel.

(j) Security of Assets. The Custodian will not be liable to the Client for any loss resulting from actions taken by the Custodian to inspect, protect or improve the security of the Client’s Assets pursuant to Section 6.5.

(k) Conflicting Claims. In the event of any dispute or conflicting claims by any person or persons with respect to the Assets, the Custodian will be entitled to refuse to act until either (a) such dispute or conflicting claim will have been finally determined by a court of competent jurisdiction or settled by agreement between conflicting parties, and the Custodian will have received written evidence satisfactory to it of such determination or agreement or (b) the Custodian will have received an indemnity, security or both, satisfactory to it and sufficient to hold it harmless from and against any and all loss, liability and expense that the Custodian may incur as a result of its actions.

(l) Legal and Regulatory Compliance. The Custodian will have no obligation to review, monitor or otherwise ensure compliance by the Client or the Authorized Agent with (a) any Law applicable to the Client or the Authorized Agent or (b) any term or condition of any agreement between the Client and any third party, including the Authorized Agent.

(m) Reliance on Written Items. The Custodian may rely on and will be protected in acting or refraining from acting upon any written notice, instruction, statement, certificate, request, waiver, consent, opinion, report, receipt or other paper or document furnished to it in accordance with this Agreement, not only as to its due execution and validity, but also as to the truth and accuracy of any information therein contained, which it in good faith believes to be genuine and signed or presented by an Authorized Person. The Custodian will be entitled to presume the genuineness and due authority of any signature appearing thereon. The Custodian will not be bound to make any independent investigation into the facts or matters stated in any such notice, instruction, statement, certificate, request, waiver, consent, opinion, report, receipt or other paper or document.

 

Section 13.

Client Obligations

13.1 Payment. The Client agrees to pay all fees, expenses, charges, and obligations incurred from time to time for any services pursuant to this Agreement as determined in accordance with the terms of the Fee Schedule to be attached hereto, together with any other amounts payable to the Custodian under the Agreement. The Fee Schedule may be changed from time to time by the Custodian upon prior written notice to the Client or the Authorized Agent. The Client authorizes the Authorized Agent to agree to any changes to the Fee Schedule on behalf of the Client without notifying or obtaining prior consent from the Client, and the Client agrees to be bound by any fees or charges agreed to by the Authorized Agent. Unless otherwise agreed, all fees and expenses paid to the Custodian will be paid in U.S. Dollars.


13.2 Provision of Identifying Information. The Client hereby acknowledges that the Custodian is subject to various laws including those requiring verification of the identities of customers, pursuant to which the Custodian will obtain, verify and record information that allows the Custodian to identify each Client. Accordingly, prior to entering into this Agreement, the Custodian will ask the Client to provide certain information including, but not limited to, the Client’s name, physical address, tax identification number and other information that will help the Custodian to identify and verify the Client’s identity, such as, to the extent applicable, organizational documents, certificate of good standing, license to do business or other pertinent identifying information. The Custodian may obtain and verify comparable information for any Authorized Person. The Client will provide the Custodian with documentation to allow for obtaining and verifying the beneficial owners and control persons of customers that are legal entities. The Client acknowledges that the Custodian cannot provide services under this Agreement until the Custodian verifies the identity of the Client (and, if applicable, Authorized Agents, Authorized Persons and/or beneficial owners) in accordance with its customer identification and verification procedures. The Client’s Accounts may be restricted or closed if the Custodian cannot obtain and verify this information. The Custodian will not be responsible for any losses or damages (including, but not limited to, lost opportunities) that may result if a Client’s Account is restricted or closed.

13.3 Provision of Asset Ownership Information. The Client will promptly provide the Custodian with such additional information and documentation (including, as applicable, by executing additional documentation) as the Custodian may request to confirm ownership of Assets, for the Custodian to comply with its policies and procedures, and to enable the Custodian to perform its duties and obligations under this Agreement.

13.4 Sanctioned Person Notification. The Client will promptly notify the Custodian if (a) the Client is or becomes a Sanctioned Person, (b) the Client is or becomes located, organized, or resident in, or begins to conduct business in or with a country or territory with which dealings are broadly restricted or prohibited by any Sanctions, or (c) the Client becomes aware that the Client or any Asset, or any transaction involving an Asset, is or becomes the target of any Sanctions or investigation (including the reasonable details thereof).

13.5 Permission for Liens and Security Interests. The Client will not grant any other Person a lien, security interest, charge or similar rights or claims against the Assets without the Custodian’s prior consent. The Custodian will not unreasonably withhold such consent and reserves the right to charge the Client extra fees to compensate the Custodian for its extra recordkeeping and administrative costs related to such right or claim.

13.6 Instructions. In giving any Instructions which purport to be Proper Instructions under this Agreement, the Client will act, and will cause the Authorized Agent to act, in accordance with the provisions of any and all constitutional documents of the Client, any and all documents governing the Assets and any related Laws.

13.7 Responsibility for Account Security. The Client, its Authorized Agents, and its Authorized Persons are responsible for creating a strong password and maintaining adequate security and control of any and all IDs, passwords, hints, personal identification numbers, or any other codes that the Client and any Authorized Agents or Authorized Person uses to access the services provided by the Custodian under this Agreement. Any loss or compromise of the foregoing information and/or the Client’s personal information may result in unauthorized access to the Accounts by third parties and the loss or theft of any Assets held in the Accounts and any associated accounts. The Client is responsible for keeping the Client’s contact information, including email address and telephone number, up to date in order to receive any notices or alerts that the Custodian may send to the Client. The Custodian assumes no responsibility for any loss that the Client may sustain due to compromise of account login credentials not due to fault of the Custodian, or due to any failure by the Client, any Authorized Agent or to follow or act on any notices or alerts that the Custodian may send to the Client, an Authorized Agent, or an Authorized Person.

13.8 Legal Consultation. At any time, the Custodian may request Instructions from any Authorized Person or Authorized Agent (or Person that the Custodian believes in good faith to be an Authorized Person or Authorized Agent), and may consult with its own legal counsel or outside legal counsel for the Client, at the expense of the Client upon notice to the Client, with respect to any matter arising in connection with the services to be performed by the Custodian under this Agreement. The Client agrees to pay all reasonable and documented fees, expenses, charges, and obligations incurred by the Custodian in connection with such Instructions or consultations.

 

Section 14.

Indemnity

14.1 Indemnity to the Custodian. The Client agrees to indemnify, defend and hold harmless the Custodian, its parent companies, subsidiaries and affiliates, and its and their directors, officers, agents and employees, against any and all claims, costs, causes of action, losses, liabilities, lawsuits, demands and damages, fines, penalties and expenses, including without limitation, any and all court costs and reasonable attorney’s fees that result from: (a) Client’s (or when acting on Client’s behalf, Platform Provider’s) misrepresentation, act or omission or alleged misrepresentation, act or omission; (b) Custodian’s following Client’s or Platform Provider’s directions or failing to follow Client’s or Platform Provider’s unlawful or unreasonable directions; (c) any of Client’s actions or the actions of Client’s previous advisors or custodians; (d) the failure by Platform Provider to perform its obligations on behalf of the Client as required by this Agreement, applicable Law, regulation, or otherwise; and (e) the failure of any other person and/or entity (including Platform Provider) not controlled by Custodian to perform its obligations on behalf of the Client. The foregoing indemnifications will survive any termination of this Agreement.


14.2 Client’s Direct Liability. The disclosure by the Client to the Custodian that the Client has entered into this Agreement as the agent or representative of another person will not relieve the Client of any of its obligations under this Agreement, including those described in Section 14.1 above.

 

Section 15.

Client Final Distribution of Assets

The Client agrees that the Assets will be finally distributed, transferred, and delivered to the Client only upon the Client’s indefeasible payment in full of any and all amounts due and owing to the Custodian hereunder.

 

Section 16.

Remedies Upon Nonpayment

If the Client, upon demand, fails to pay the Custodian any required amount in respect of any Asset subject to this Agreement, the Custodian may, without notice to the Client (except as required by law) and at any time appropriate, sell such Asset and/or exercise in respect of each such Asset any and all the rights and remedies of a secured party on default under applicable Law.

 

Section 17.

Lien and Set Off

17.1 Lien. In addition to all rights and remedies available to the Custodian under applicable Law, the Custodian will have, and the Client hereby grants, a continuing lien on and valid and perfected first-priority security interest in all Assets until the satisfaction of all liabilities of the Client to the Custodian arising under this Agreement, including without limitation liabilities in respect of any fees and expenses or credit exposures in relation to the Accounts incurred in the performance of services under this Agreement. Custodian will have all the remedies of a secured party under the Uniform Commercial Code as in effect in the State of Wyoming. The Client will not grant any other Person a lien, security interest, charge or similar rights or claims against the Assets without the Custodian’s prior written consent.

17.2 Set-off. Without limiting any other rights and remedies of the Custodian under this Agreement or applicable Law, to the extent permitted by applicable Law, the Custodian may, with prior notice to the Client, set off any payment obligation owed to the Custodian by the Client against any payment obligations owed by the Custodian to the Client, regardless of the place of payment, delivery and/or currency of any obligation (and for such purposes may make any necessary conversions of currencies). If any obligation is unliquidated or unascertained, the Custodian may set off an amount estimated by the Custodian in good faith to be the amount of that obligation.

 

Section 18.

Records

The Client will examine each statement sent by the Custodian and notify the Custodian in writing within five Business Days of the date of such statement of: (a) any discrepancy between Instructions given by the Client and the position shown on the statement, and (b) any other errors known to the Client. Absent such timely notification, the Custodian’s liability for any loss or damage in regard to such discrepancy will not accrue beyond such five Business Day period.

 

Section 19.

Confidential Information

19.1 Confidentiality and Use of Information. Each of the Custodian and the Client agrees that it will maintain any confidential and proprietary information disclosed to it by the other Party hereto, including the fees set forth in the Fee Schedule hereto (“Confidential Information”), in a confidential manner using the same care it uses to protect the confidentiality of its own confidential information, and will not use for its own benefit or otherwise the Confidential Information of the other Party except (a) as expressly authorized by this Agreement and to the extent necessary for performance of this Agreement, or (b) upon the prior written consent of the other Party; provided, however, that each of the Custodian and the Client may disclose any such confidential or proprietary information of the other Party to those of its affiliates and its and their officers, directors, employees, agents (including attorneys and financial advisors), and contractors, in each case, who need to know such information for purposes of this Agreement and who are bound by confidentiality obligations consistent with the terms hereof. Notwithstanding the foregoing, Confidential Information will not include information that was (i) publicly available prior to disclosure by such disclosing party; (ii) already in the receiving party’s possession and not subject to an obligation of confidentiality; (iii) obtained by the receiving party from a third party without restriction on disclosure; (iv) entirely independently developed by the receiving party without reference to any Confidential Information of the disclosing party; (v) the tax treatment and any facts that may be relevant to the income tax consequences of the transactions contemplated by this Agreement.

19.2 Required Disclosures. If, at any time, the receiving party is required by law or regulation to make any disclosure of any of the Confidential Information, by summons, subpoena, judicial or administrative order or otherwise, the receiving party will (to the extent permissible and practicable under the circumstances) give prompt prior written notice of such requirement to the disclosing party and


permit the disclosing party to intervene in any relevant proceedings to protect its interests in the Confidential Information, and provide reasonable cooperation and assistance to the disclosing party in lawful efforts to resist, limit or delay disclosure at the disclosing party’s sole expense. Notwithstanding the foregoing, the Custodian may disclose the Client’s Confidential Information to the Custodian’s regulators without any notice thereof.

19.3 Unauthorized Use. The receiving party will promptly notify the disclosing party in writing of any loss, or use, access or disclosure of Confidential Information of the disclosing party in violation of this Agreement promptly following recipient’s discovery and will promptly take measures to minimize the effect and prevent its recurrence. The receiving party will be liable under this Agreement to the disclosing party for any loss, or access, use, or disclosure in violation of this Agreement by itself or its representatives.

 

Section 20.

Term and Termination

20.1 Term. The term of this Agreement will commence on the Effective Date and terminate when terminated pursuant to this Section 20 (the “Term”).

20.2 Termination. Custodian may terminate this Agreement in whole or in part, with or without cause, by giving prior written notice to Client. Client may terminate this Agreement in whole or in part, with or without cause, by giving not less than 30 days’ prior written notice to Custodian.

20.3 Suspension, Deactivation, and Termination by Custodian. Without prejudice to any accrued rights and remedies under this Agreement, the Custodian may suspend or restrict the Client’s access to the Custodian’s services and/or deactivate or terminate the Clients Accounts, if, in its sole discretion, it has determined that (a) continuing to provide services under this Agreement would result in violation of any Law; (b) any of the representations or warranties made by the Client under this Agreement cease to be true on a continuing basis; (c) the Custodian perceives a risk of legal or regulatory non-compliance associated with Client’s Account(s); (d) the Custodian’s service partners, including depositories and subcustodians, are unable to support the Client’s use; (e) the Client takes any action that the Custodian deems as circumventing the Custodian’s controls, including, but not limited to, abusing promotions which the Custodian may offer from time to time or otherwise making a misrepresentation of the Client’s Account(s); (f) the Client breaches the terms of this Agreement; or (g) the Client fails to pay fees for a period of 90 days. If the Custodian suspends or restricts the Client’s access to the Custodian’s Services and/or deactivates or terminates Client’s Account(s) for any reason, the Custodian will provide the Client with notice of the Custodian’s actions in writing unless prohibited by Law. The Client acknowledges that the Custodian’s decision to take certain actions, including limiting access to, suspending, or closing the Client’s Account(s), may be based on confidential criteria that are essential to the Custodian’s risk management and security protocols. The Client agrees that the Custodian is under no obligation to disclose the details of its risk management and security procedures to the Client. The Client will be permitted to withdraw Assets associated with the Client’s Account(s) for 90 days after deactivation or termination by the Custodian unless such withdrawal is prohibited Law (including but not limited to applicable sanctions programs or a facially valid subpoena, court order, or binding order of a government authority).

20.4 Effect on Assets. Upon termination of this Agreement and subject to Section 15 hereof, the Custodian will deliver the Client’s Assets as instructed by the Client in a Proper Instruction. If by the termination date the Client has not given Proper Instructions to the Custodian regarding where to deliver any Assets, the Custodian will continue to maintain the Accounts until the Client provides such Proper Instructions to effect a free delivery of such Assets, and the Client will be liable to pay monthly storage fees in the amount determined by the Custodian until all Assets are removed. However, the Custodian will provide no other services with respect to any such Assets following termination. Notwithstanding termination of this Agreement or any Proper Instruction, the Custodian may retain sufficient Assets to close out or complete any transaction that was in process prior to such termination or to pay any fees of the Custodian or amounts otherwise outstanding hereunder.

20.5 Surviving Terms. The rights and obligations contained in Sections 7, 11, 14, 15, 16, 17, 19, 20, 21, 22, and 23 of this Agreement will survive the termination of this Agreement.

 

Section 21.

Limitation of Liability

21.1 Limitation on Direct Damages. SUBJECT TO SECTION 12.3 OF THIS AGREEMENT, TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, IN NO EVENT THE CUSTODIAN, ITS AFFILIATES AND SERVICE PROVIDERS, OR ANY OF THEIR RESPECTIVE OFFICERS, DIRECTORS, AGENTS, EMPLOYEES OR REPRESENTATIVES, BE LIABLE (I) FOR ANY AMOUNT GREATER THAN THE FEES PAID OR PAYABLE TO CUSTODIAN UNDER THIS AGREEMENT DURING THE 12-MONTH PERIOD IMMEDIATELY PRECEDING THE INCIDENT GIVING RISE TO SUCH LIABILITY.21.1 No Consequential or Related Damages. TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, IN NO EVENT WILL EITHER PARTY, ITS AFFILIATES AND SERVICE PROVIDERS, OR ANY OF THEIR RESPECTIVE OFFICERS, DIRECTORS, AGENTS, EMPLOYEES OR REPRESENTATIVES, BE LIABLE FOR ANY LOST PROFITS OR ANY SPECIAL, INCIDENTAL, INDIRECT, INTANGIBLE, OR CONSEQUENTIAL DAMAGES, WHETHER BASED IN CONTRACT, TORT, NEGLIGENCE, STRICT LIABILITY, OR OTHERWISE, ARISING OUT OF OR IN CONNECTION WITH AUTHORIZED OR UNAUTHORIZED USE OF THE CUSTODIAN’S SERVICES, OR THIS AGREEMENT, EVEN IF SUCH PARTY HAS BEEN ADVISED OF OR KNEW OR SHOULD HAVE KNOWN OF THE POSSIBILITY OF SUCH DAMAGES.


Section 22.

Fees and Payment

22.1 Fees. The Client agrees to pay the Custodian the fees and expenses for the Services performed pursuant to this Agreement as set forth in the Fee Schedule attached hereto. The Custodian may increase or decrease the fees charged at any time upon 30 days’ prior notice. In addition, any services requested by the Client that are in addition to the standard Services provided by the Custodian may result in additional fees being charged to the Client or expenses being passed through to the Client, including printing and mailing charges. All payment obligations under this Agreement are non-cancelable and all payments made are non-refundable.

22.2 Invoicing and Payment Terms. The Client will pay all fees hereunder within 30 days of the date of the applicable invoice issued by the Custodian. In the event the Client disputes any invoiced fees, the Client will provide written notice of the disputed amount within 15 days after the date of such invoice and timely pay any undisputed portion of such invoice. The Parties will cooperate in good faith to resolve any disputed invoice or portion thereof within 15 days of notice of dispute. All amounts payable by Client under this Agreement will be made without setoff and without any deduction or withholding. The Client will promptly reimburse the Custodian for any cost or expense incurred in connection with any collection efforts undertaken by the Custodian in connection with any past due amount owed under this Agreement. At the Custodian’s discretion, past due amounts may accrue a late fee equal to the lesser of 1.5% per month or the maximum amount allowed by applicable law.

22.3 Purchase through Platform Provider. The Client understands and acknowledges that all or a portion of fees and expenses may, at the sole discretion of the Platform Provider, be paid to the Custodian by the Platform Provider and subsequently be passed through to the Client by the Platform Provider. Notwithstanding anything to the contrary, Client may be required to compensate Platform Provider for the Custodian’s services, and among other provisions, certain terms related to fees, payment terms, taxes, term, termination, renewal, and support may be established between Platform Provider and the Client for the purchase of the Custodian’s services hereunder.

 

Section 23.

Governing Law and Venue

This Agreement is solely and exclusively governed, construed, and enforced in accordance with the laws of the State of Wyoming, without giving effect to conflict of law rules or principles that would cause the application of the laws of any other jurisdiction. Both Parties submit to personal jurisdiction in the federal and state courts located in Cheyenne, Wyoming, and further agree that any and all claims and controversies arising out of this Agreement that cannot be amicably resolved by the Parties will be brought solely and exclusively in a court in the State of Wyoming. Each Party hereto waives any objection it may have at any time, to the laying of venue of any actions or proceedings brought in an inconvenient forum and further waives the rights to object that such court does not have jurisdiction over such parties.

 

Section 24.

Miscellaneous

24.1 Notices. Any notice or other communication under this Agreement will be in writing and will be effective upon delivery as follows: (a) if to Client, when sent via email to the email address below or otherwise on record with the Custodian; and (b) if to Custodian, when sent via email to legal@brassicafin.com. Any such notice, in either case, must specifically reference that it is a notice given under this Agreement.

24.2 Confidential Relationship; Privacy Statement and Policy. All information and advice furnished by either party to the other hereunder, including their respective agents and employees, will be treated as confidential and will not be disclosed to third parties except as required by law and as necessary to service the Accounts. Client hereby acknowledges receipt of, and the Custodian agrees to maintain the confidentiality of all Client’s related personal information. The then-current Brassica privacy policy, which may be found at https://www.brassicafin.com/legal/privacy, identifies how Brassica collects, uses, and discloses, on a limited basis, your information. This provision will survive termination of this Agreement.

24.3 No Publicity. Client will not make any public statement, including any press release, media release, or blog post which mentions or refers to the Custodian or a partnership between Client and the Custodian, without the prior written consent of the Custodian.

24.4 Choice of Trust Company and Referral. The Client acknowledges that they have the choice to select any trust company or financial institution to provide custody services for the Client’s assets. The Client affirms that while they have been referred to Brassica by the Platform Provider, the Client has elected to open an Account with Brassica based on their independent choice, free from pressure or influence.

24.5 Service to Other Clients. It is understood that the Custodian may perform investment services for various clients including related persons of the Custodian. The Client agrees that the Custodian may provide advice and take action with respect to any of its other clients, itself or Affiliates that may compete with or differ from the advice given or the timing or nature of action taken with respect to the Client. It is understood that the Custodian will not have any obligation to purchase or sell, or to recommend for purchase or sale, for the Client any security or other investment which the Custodian, its principals, Affiliates, or employees may purchase or sell for its or their own accounts or for the account of any other client, if in the opinion of the Custodian such transaction or investment appears unsuitable, impractical, immaterial, or undesirable for the Accounts.


24.6 No Third-Party Beneficiaries. This Agreement is not intended to confer any rights or benefits to any third parties, including, but not limited to, the Client’s end customers or investors.

24.7 Headings. Titles to Sections of this Agreement are included for convenience of reference only and will be disregarded in construing the language contained in this Agreement.

24.8 Severability. If any provision of this Agreement is or becomes illegal, invalid, or unenforceable under any applicable law, the remaining provisions will remain in full force and effect (as will that provision under any other law).

24.9 Waiver of Rights. No failure or delay of the Client or the Custodian in exercising any right or remedy under this Agreement will constitute a waiver of that right. Any waiver of any right will be limited to the specific instance. The exclusion or omission of any provision or term from this Agreement will not be deemed to be a waiver of any right or remedy the Client or the Custodian may have under applicable law.

24.10 Recordings. The Client and the Custodian consent to telephonic or electronic recordings for security and quality of service purposes and agree that either may produce telephonic or electronic recordings or computer records as evidence in any proceedings brought in connection with this Agreement.

24.11 Assignment. The Custodian may assign this Agreement, delegate its duties hereunder, and transfer the Accounts to any of its affiliates or to its successors and assigns, whether by merger, consolidation, or otherwise, in each case, without notice to the Client. The Client may not assign or transfer any of its rights or obligations under this Agreement without the Custodian’s prior written consent. Any attempted transfer or assignment in violation hereof will be null and void.

24.12 Contractual Relationship. Nothing contained in this Agreement will constitute the Client and/or the Custodian (and/or any other Person) as members of any partnership, joint venture, association, syndicate, unincorporated business, or similar assignment as a result of or by virtue of the engagement or relationship established by this Agreement. Neither the Client nor the Custodian will hold itself out as an agent, partner or joint venture partner of the other or any of the subsidiaries or companies controlled directly or indirectly by or affiliated with the other.

24.13 Independent Review. Each Party recognizes that this Agreement is legally binding. The Parties acknowledge that they have been advised to seek independent legal, tax, investment, or other professional advice prior to entering into this Agreement and have had ample opportunity to do so. In any interpretation of this Agreement, it shall not be construed against either Party as the drafter. The Client expressly confirms having read and understood this Agreement and is entering into it freely and voluntarily.

24.14 USA PATRIOT Act Notice. The Client hereby acknowledges that Custodian is subject to federal laws, including the Customer Identification Program (CIP) requirements under the USA PATRIOT Act and its implementing regulations, pursuant to which the Custodian must obtain, verify, and record information that allows the Custodian to identify the Client. Accordingly, prior to opening any Accounts hereunder the Custodian will ask the Client to provide certain information including, but not limited to, name, address, tax identification number and other information that will help the Custodian to identify and verify the Client’s identity such as organizational documents, certificate of good standing, license to do business, or other pertinent identifying information.

24.15 Other Business. Nothing herein will prevent the Custodian or any of its affiliates from engaging in other business, or from entering into any other transaction or financial or other relationship with or receiving fees from or from rendering services of any kind to the Client or any other Person. The Custodian and its affiliates may be, and are not prohibited from, engaging in other business or activities, including those that might be in direct competition with the Client. The Custodian and its affiliates (or funds or other accounts advised or managed by them) may have investments in, or other commercial arrangements with, counterparties that fill Trade Orders or other service providers to the Custodian. Affiliates of the Custodian (and funds or other accounts advised or managed by them) may themselves utilize the Custodian’s trade execution service and submit Trade Orders that could be internally crossed with Trade Orders of the Client.

24.16 Entire Agreement; Amendments. This Agreement, including all exhibits and schedules, constitutes the entire Agreement and understanding between the Parties, and supersedes all previous communications, representations or agreements, whether written or oral, with respect to the subject matter hereof. In the event this Agreement conflicts with any exhibit, schedule, or terms of use, the terms of this Agreement will control and govern. Except as specified in this Agreement, this Agreement may be modified only by written agreement signed by both Parties.

* * * * *


The Parties have caused their duly authorized representatives to execute this Agreement as of the Effective Date.

 

CLIENT    BRASSICA TRUST COMPANY LLC
Signature:    Signature:
Name:    Name:
Title:    Title:
Date:    Date:
Email for Notices:   


Fee Schedule

 

Transaction Type

   Transaction
Fee
     Frequency  

Wire - Domestic (in)

   $ 0        Per Transaction  

Wire - Domestic (out)

   $ 15        Per Transaction  

Wire - International (in)

   $ 15        Per Transaction  

Wire - International (out)

   $ 25        Per Transaction  

Wire - Recall

   $ 50        Per Transaction  

ACH (in/out)

   $ 0.40        Per Transaction  

ACH - Chargeback

   $ 15       
Per Non-Sufficient Funds Paid &
Returned
 
 

Fraudulent Return

   $ 150        Per Return  
ADD EXHB 5 d462927daddexhb2.htm ADD EXHB ADD EXHB

Exhibit 99.1

Transcript: MBW Podcast

Interview w/ Jukebox Co. CEO Scott Cohen

October 23, 2023

Total Length of Interview: ~ 38 mins

 

 

TRANSCRIPT

Speaker 1 00:00

Business Worldwide podcast is supported by Volley Music, a leading financial management platform for the music industry. Volley enables you to track expenses, approve invoices, and make payments 24 -7, 365 days a year.

Speaker 1 00:13

For your free trial, head to VolleyMusic .com. That’s V -O -L -Y Music .com.

Tim Ingham 00:26

Welcome to the Music Business Worldwide podcast supported by Volley Music. My name is Tim Ingham, the founder of Music Business Worldwide and joining me on this podcast is Scott Cohen, the CEO of JukeBox, which if you’re interested, is spelled JKBX.

Tim Ingham 00:43

JukeBox is a new platform that enables investors, including so -called retail investors or people like you and me sitting on our laptops, to acquire royalty shares in hit songs. JukeBox also allows you to trade those royalty shares by selling them to other people.

Tim Ingham 00:59

JukeBox is able to offer these royalty shares because its affiliate has effectively itself acquired a percentage of income interests from large music business rights holders, the names of which you’d probably know.

Tim Ingham 01:12

JukeBox launched last month, that’s September, and according to Bloomberg had over $1 .7 billion worth of music assets secured at launch. Right now on the platform, JukeBox is offering royalty shares in hit songs like Halo performed by Beyoncé, Rumour has it performed by Adele, Welcome to New York performed by Taylor Swift and many other smashes that you’d recognise.


Tim Ingham 01:36

However, as I record this, you can only reserve your acquisition of royalty shares on JukeBox because before you’re allowed to complete any transaction, the company wants to finish a process of attempting to secure regulated approval from the US Securities and Exchange Commission, aka the SEC.

Tim Ingham 01:56

As well as its primary investor, which is Dundee Partners, JukeBox has reportedly attracted strategic investors including Spotify, LiveNation, YouTube, Red Light Management, Bertelsman Digital and others.

Tim Ingham 02:09

Oh, and one other thing worth knowing. Through its creator program, JukeBox is offering artists and songwriters the opportunity to receive ongoing payments from music they helped create that is then traded on Jukebox.

Tim Ingham 02:23

JukeBox says it will pay these creators whether or not they’ve sold their catalogue in the past, and I should point out it has no legal duty to do so. Things to know about Scott Cohen before we get into this podcast, he is the co -founder of The Orchard, which he co -launched with Richard Gotterer in the second half of the 90s before selling it to Sony Music for a total of around $250 million, partly in 2012 and then partly again in 2015.

Tim Ingham 02:52

Before joining JukeBox, Scott was most recently Chief Innovation Officer at Warner Music Group where he kept his ear close to the ground on tech that was about to affect music such as artificial intelligence, the metaverse and the blockchain.

Tim Ingham 03:07

On this podcast, I asked Scott about JukeBox’s prospects as well as the changing nature of technology’s involvement in music and the lessons he learned building The Orchard into a towering global music company.

Tim Ingham 03:19

Scott Cohen, welcome to the Music Business Worldwide podcast. Now imagine that I’m the owner of a portfolio of music rights that’s worth $2 billion, $3 billion, $4 billion. What can Jukebox do for me and how does it actually work?

Scott Cohen 03:37

Well, the first thing I can do is congratulate you on amassing an amazing catalog of it. It worked two, three or four billion dollars. Thanks very much. But what it can do is unlock some of the value of that the same way that when companies, IPO and become listed companies, it’s a way of unlocking trapped value.


Scott Cohen 03:59

So what we do is we take income streams from hit songs. So a rights holder has a song that generates a million dollars a year, for instance. Maybe we take 10% of that income, $100 ,000. We put some multiple on it, let’s say 20x multiple.

Scott Cohen 04:21

And that’s done through an issuing company. And that issuing company takes it to the SEC in America. So security is an exchange commission to get it qualified. So essentially what we do is we take income streams and then convert them into regulated securities.

Scott Cohen 04:40

And when I say we, it’s the issuer that does it. And then it’s listed on the Jukebox platform.

Tim Ingham 04:46

So I want to talk about how many valuable assets you have to play with for launch. We’re going to talk about when official launch is coming. I know that you’ve kind of in beta launch, we’ll talk about that.

Tim Ingham 04:53

But I also want to talk about where this could go in the future. So Bloomberg reported earlier this year that there were $1 .7 billion, that’s US dollars billion, of music rights exclusively secured for Jukebox.

Tim Ingham 05:05

We’ve subsequently seen in porting and releases from the company that they include hits that have been performed in the past by some absolutely massive superstars. Bloomberg also said that Jukebox had an aim to get that $1 .7 billion figure up to somewhere in the region of $4 billion.

Tim Ingham 05:22

So how is that mission going? Well,

Scott Cohen 05:26

I’d like to congratulate Bloomberg on their optimism that we would go from 1 .7 billion worth of music rights to 4 billion. That’s amazing. With that said, I’m not going to give you a number, but if I said they missed it under reporting it by a factor of three, then you’d have some understanding.

Scott Cohen 05:48

I think without saying the number 12 billion instead of 4 billion, I think you’d be safe.

Tim Ingham 05:55

In order to get up to that kind of level, you have to, and I guess this is part of what you’ve been doing in the months preceding this discussion, you have to get buy -in from the industry’s biggest rights holders.


Tim Ingham 06:05

I guess wrapped up in my question is, how is that process going for you? How are you finding the level of interest from those organisations? I’m not just talking about the three majors, although obviously they’re wrapped into it, but those organisations that hold billions of dollars of music right, billions of dollars worth of music rights in their portfolios.

Scott Cohen 06:23

Well, that is where we’re getting the buy -in. It’s from those large rights holders. What we’re not doing is working with small, unknown artists. I mean, there’s a place for that, but that’s not what we’re doing.

Scott Cohen 06:33

As you’ve said before, we’re talking about songs recorded by Ed Sheeran and Adele and Beyoncé and folks of that level being listed on the platform. Those only come from those large rights holders.

Tim Ingham 06:47

There was a report recently in Billboard that noted, well, it was from sources, I should say. That said, you’ve got some heavy -duty music industry investors. They named a few. I believe Spotify was one, and maybe Bertelsman Digital was another if I remember rightly.

Tim Ingham 07:00

Will these kind of investors help you strategically in your mission, or are we just talking about a simple growth investment from these companies? you

Scott Cohen 07:07

It’s really both. I mean, that was the point that we were in a fortunate position that we were able to raise a significant amount of seed capital to essentially build out the business in year one and building out the businessmen, securing the content to be listed on the platform, navigating the regulatory process with the SEC, and literally building a product from the bottom up.

Scott Cohen 07:34

But now we’re going to begin leveraging that investment from the strategic investors that came in because obviously they have large businesses and large customer bases. There’s some ways that are mutually beneficial to our companies and theirs, but more importantly, beneficial for their customers.

Tim Ingham 07:56

This is the first big philosophical question, I suppose. So we might stick on this for a while, but is there any conflict or danger in your mind in bringing music fans into the risk game that is investing in music catalogs and hoping then that they will grow in value?


Tim Ingham 08:12

So I understand completely that you’re going to be striking deals with large rights holders. That’s great for the large rights holders. And then the rights will go eventually via the conduit onto the platform.

Tim Ingham 08:21

And that retail investors, if you like, as well as larger scale investors, I imagine, can invest in the asset class through the platform. That’s all great. Part of the sell, though, I guess, is I’m a huge Beyonce fan or what have you.

Tim Ingham 08:36

Maybe someone will buy me that for my birthday or buy it for myself. And therefore we are tying together music fandom with music rights investments. So philosophically, I guess some people might argue that fans and investors should be kept separate.

Scott Cohen 08:53

I don’t know who these people are that positing this philosophical question. It seems I don’t want to say silly and I don’t want to be dismissive of it, but it doesn’t make sense to me. I mean, first of all, when we talk about retail investors, what we mean is just the general public, the general public.

Scott Cohen 09:10

Now the general public are retail investors. In America alone, 63 million Americans have individual investment accounts. There’s a similar percentage in the UK and around Europe. So people are investing.

Scott Cohen 09:24

They’re investing for their pensions. They’re investing because they’re trading. These same people are also fans of music. It’s not like people that invest their money are one group and fans of music are a different group.

Scott Cohen 09:38

They’re the same group of people. I don’t think that there’s any issue with investing in music like it. I think of it like companies like Apple. So I’m a huge customer of Apple. I have two MacBooks, one personal, one business.

Scott Cohen 09:54

I have an iPad, an iPhone. I am a huge customer and actually a fan of Apple. But I’m also an investor in Apple. I own stock in Apple. I don’t see that these two things are mutually exclusive. I think they actually work really well together.


Scott Cohen 10:12

And I think if I’m just thinking of fans already, they’re spending a fortune on the artists they love. They’re streaming their music. They’re buying their vinyl. They’re buying their merch. They’re buying tickets to concerts.

Scott Cohen 10:26

So they’re investing them in them. What’s wrong with also sharing in the wealth as the music that these artists perform is also making money? Why shouldn’t they have an opportunity to be part of that?

Scott Cohen 10:40

So I don’t see it as controversial at all or risky.

Tim Ingham 10:44

It’s a great point you make on Apple. You get Appleheads and Teslaheads. There are these companies that draw something more than just commercial interest from retail investors. Music’s about love. I suppose in the worst case scenario, which will inevitably happen to some, people will make lots of money, I’m sure, if they invest in the right things at the right time in any field.

Tim Ingham 11:04

The same will be true of music rights, but some people don’t, as we well know. I guess that conjoining to the sort of fandom of music, that’s where it gets a bit, well, just something we haven’t seen before.

Tim Ingham 11:16

That’s why philosophically, I think lots of people around the business have got, as you know, very excited about Duke Boxing and what’s about to happen and how this can be an entirely new income stream for the business at time.

Tim Ingham 11:27

We’ll get into that later, when it could probably do with it. It’s just one or two dinners I’ve had where people have said, I don’t know, mixing together music, fandom and music, and asset investment.

Tim Ingham 11:38

It’s an interesting one, but I completely take the point on Apple. Yeah, remember it.

Scott Cohen 11:42

I will say this, I believe it’s absolutely inevitable that the finance sector and the music sector, music as an asset class, are going to come together. As they come together, what it does is it provides great opportunities for the fans and the retail investors.

Scott Cohen 11:59

They’re the ones that get most of the upside of this. I was talking to a guy in New York in June. He works at the NFL. Forgive me, but not only can I not remember his name, I don’t remember his title, but he was fairly senior there.


Scott Cohen 12:16

What he told me was fans of football, this is American football. Fans of football that play fantasy football then increase their spend on football three to four X a year. It’s not like they’re not into football.

Scott Cohen 12:34

They’re already fans. And so what we’re doing is nothing like fantasy. This is reality. But imagine investing in music. What could that mean for your spend on music as we bring people closer to the things they love?

Scott Cohen 12:51

This is a lean in experience that has never been done at this scale where people can actually invest in the songs that they love.

Tim Ingham 12:59

As you’re speaking, I’m rattling these points around in my head and realizing that another counter argument is music fans sit back and spend all their money on music. In the current climate, it may be a Blackstone, it may be a BlackRock, it may be a KKR.

Tim Ingham 13:10

Those assets are growing in value and only making money for those entities purely out of the music fan. I guess involving the music fan in that process philosophically could be also viewed as a very exciting thing to your point.

Tim Ingham 13:24

I know one of the big differentiators for Jukebox from what we’ve seen before other than technology, industry buy -in, etc., is your plans for SEC qualification before the assets are fully bought and sold via Jukebox and it’s affiliate.

Tim Ingham 13:39

As I understand it right now, I can go on Jukebox and I can reserve a share or a fractional share or a number of shares in the income stream. I can’t actually make a transaction with my credit card because you’re waiting for that SEC qualification.

Tim Ingham 13:53

So could you just explain why that’s important and also how close you hope you are to securing that SEC approval? Now I say hope you are just as a qualifier because obviously it’s not the case that Scott can pick up the phone and say, come on guys, hurry up.

Tim Ingham 14:07

I appreciate that, but I’m just trying to get a sense of when you hope that might be happening.


Scott Cohen 14:12

Yeah, I think the way to frame it is to think about the typical IPO process when a private company goes public. Now if you’re an institutional investor, meaning one of these large investors or even an accredited investor, meaning typically a high net worth individual, this process is absolutely normal to you.

Scott Cohen 14:34

But if you’re a regular person, a retail investor, it’s all new. So an IPO process starts with this phase called testing the waters, where you essentially say, we’re going to go public, we’re going to list our company, and we’re going to tell everyone this is the company we want to list.

Scott Cohen 14:53

And they try and get people on board to say, would you reserve some shares in this IPO? And they spend a period of weeks or months doing this while the filing gets qualified at the SEC. So what we’re doing is instead of doing it at the company level, we’re doing it at a song level for each song, it’s like it’s a mini IPO.

Scott Cohen 15:16

Then when there’s the IPO, when it’s the day that it’s qualified, it goes on the primary market and those people that reserve shares then can actually buy those shares that they reserved. Most people, because most people are not institutional investors and they’re not accredited investors, then only see when a company IPOs, when it’s on the secondary market and then they can just buy in.

Scott Cohen 15:42

What we’re doing is allowing the fans and the retail investors to participate in this early process, which I think is pretty cool because normally they only get it after all this stuff’s been done, it’s like, okay, now you can invest.

Scott Cohen 15:56

So we’re giving them an opportunity to come in early. When I look at where we are with the SEC qualification, I feel confident that we’re right on track with our plans and it’s mapping to what we would expect.

Scott Cohen 16:08

But again, it’s not up to us. It’s up to a process. So we follow the procedure and wait.

Tim Ingham 16:17

I kind of hinted at this point before, and again, this part of the conversation might open up into some interesting avenues, but Jukebox launches, has launched and will additionally launch to your point when transactions are permitted.


Tim Ingham 16:30

An interesting time in the music rights business because streaming growth is maintaining, it’s healthy, price rises are helping, but everyone kind of recognizes that growth is slowing versus its heyday with sort of explosive growth we’ve seen over the last five to seven years maybe.

Tim Ingham 16:47

And you’ve also got happening in the market right now, high interest rates and that’s affecting what was a much frothier M &A market acquisition, rights acquisition market. Are you confident in the long -term future value of music itself?

Tim Ingham 17:02

Obviously, Jukebox is a part of this, but with these factors taking place right now, a couple of question marks over the future of the industry. When we look more long -term, are you confident in the long -term future value of music and its growth?

Tim Ingham 17:13

I think when I look at it, I think it’s a bit of a shame.

Scott Cohen 17:15

think about the future of music. I look at it through a couple of different lenses. One music as an asset class is an uncorrelated asset. That means that regardless of the macroeconomic conditions, regardless of there’s a pandemic or there’s a recession, if music is played, somebody’s getting paid.

Scott Cohen 17:41

It doesn’t matter what’s happening with the economy. If a song is streamed, if a song is played on the radio, somebody’s getting paid. It doesn’t matter what’s happening. And that’s the beauty of an uncorrelated asset.

Scott Cohen 17:54

But also when you talk about has streaming growth decelerated. And again, I say the word growth because it’s still growing. Has it decelerated? When I think about the music industry, it’s always been subject to format changes and new revenue sources.

Scott Cohen 18:12

It’s been this way for nearly 100 years. There were 78s and then in the 50s, it was all about the 45 singles. And then when the 60s, we get albums. And then in the 70s, we get cassettes. In the 80s, it was CDs.

Scott Cohen 18:29

And then we move into downloads and streams. My point being that if we just look at streaming and say, oh my God, streaming is slowing, it says if that’s the end of the line, there will be nothing else coming after that to generate revenue.


Scott Cohen 18:45

If you believe that, well, then make your decisions based on that. But if you look at the history of music and go, there’s always new formats, always new revenue sources, and you believe that trend will continue into the future, then you would make decisions based on that.

Tim Ingham 19:04

So generally speaking, you are optimistic. You think that technological change will partly drive this and the fact that to your point, every time music is played, someone gets paid. Do you think that that’s gonna keep the growth firing?

Tim Ingham 19:16

I mean, it’s just because those slightly nerve -wracking signs are starting to come into, particularly on the streaming group.

Scott Cohen 19:21

Well, again, if you believe this is the end of technology, then that’s it. When you hit the end, there’s nothing else. That’s it. Then you should be very concerned. If you believe that there’s still lots of room for growth, whether it’s Web3 and the metaverse and AR and VR and AI, I think if I can come up with some more acronyms.

Scott Cohen 19:45

If you think those things are frozen in time, we’re not moving forward and this won’t have an impact, then that’s your decision.

Tim Ingham 19:54

Speaking of which, I will foreshadow this question pointing out that in your previous role with Warner Music Group, I guess a big part of your responsibilities really was keeping your eye on forthcoming technological trends and how that was going to affect the industry.

Tim Ingham 20:07

So I’m sure this is something you’ve been observing for some time, but generative AI has, as you well know, exploded as a topic of discussion in the music industry in the past six to 12 months, both in terms of music making and I guess what we could call music aping platform.

Tim Ingham 20:24

So like the fake Drake using replicating the voices of superstars for music creators at home. We’ve actually literally just before we speak today, there’s a report in Bloomberg, I believe that says that YouTube is working on something similar and trying to get the labels convinced to sign over the rights for some of their superstar voices so that someone such as I sat at a desk right now could then go and use Taylor Swift’s voice or Drake’s voice to create new pieces of music and it would be licensed.


Tim Ingham 20:49

Where do you, oh, I should also point out that yesterday Universal Music Group fired a lawsuit, a chat GPT rival that it claims is using music lyrics, therefore infringing copyright on a widespread basis.

Tim Ingham 21:04

So just in the last 24 hours with the YouTube news and the Universal Music suing the company news, we’ve seen both sides of this debate really. Where do you sit generally on the commercial threat versus the commercial opportunity spectrum of generative AI?

Scott Cohen 21:18

If you know me at all, you know that I’m an eternal optimist, which also means I think all of this is a massive opportunity. I was chatting with Mark Mulligan in Hamburg a couple of weeks ago, and I think we see eye to eye on this, that he talks about the music industry has historically been based on a consumption model.

Scott Cohen 21:40

We make money by monetizing consumption, radio, CDs, download, streaming. But if you look at what’s happening in the world since the web, that we have a creator economy. So it really starts in the early days of the web that pre -web, there were people that wrote things.

Scott Cohen 22:05

So wrote books or articles in magazines, or they wrote for newspapers. And that was a small number of people, and the rest of the population consumed those things. But once people had access to the web, they started writing themselves.

Scott Cohen 22:23

Think of as basic as just a post online, just a simple Facebook post, or go back on MySpace or Friendster post. You know, just here’s my opinion, everyone was now creating something. You then move forward with things like Instagram.

Scott Cohen 22:41

And so there used to be photographers, and okay, some people had a little camera with some film, but how much could you really take? It was expensive to take photographs. Now everyone expresses themselves through photography.

Scott Cohen 22:54

And then you get things like YouTube and TikTok. And now we’re in a world where people aren’t just consuming video content through TV, film, and today’s world, things like Netflix. They’re also creating just as much as they’re consuming.


Scott Cohen 23:11

So people have been expressing themselves using words, photos, and video. But what is next? Could AI assist us to express ourselves through music? When I take a photo on my iPhone, I just merely switch to portrait mode, and the technology behind it takes over and makes this amazing photograph.

Scott Cohen 23:38

I don’t know, I don’t have to know anything about f -stops and the aperture. And, you know, just like I don’t know any other terminology or how to use a 35 millimeter camera. I just put up my iPhone, flipped to portrait mode and taken an amazing photograph.

Scott Cohen 23:53

Could this happen with music? And the answer is yes with AI. And so now instead of just having the music industry be based on a consumption model, we can also generate money from creation. That if lots of people, millions of people globally, tens of millions, hundreds of millions of people, are taking pieces of existing music that’s licensed, applying some AI to create what they want.

Scott Cohen 24:25

And this goes far beyond there was a time when people could get stems and go, hey, remix the stems. Well, I don’t want to remix the stems. I want to push a button and it just magically happens. This is what AI can do for us.

Scott Cohen 24:38

And if that part can be monetized, imagine the size of the music business in the future.

Tim Ingham 24:47

Yes, well said. Talking of the creator economy, you were kind of on the vanguard of the early years of that with the orchard, of which you are a co -founder. We’ll dig into the orchard shortly. This is such an amazing story and an incredible thing to have been part of and also witnessed what it’s become since.

Tim Ingham 25:06

But what experiences at the orchard, creating it, developing it, launching it, and then seeing it take off, what experiences there can you carry forward and learn from and now apply to Jukebox? Because even though Jukebox is, to your point, an incredibly well -funded startup and has a number of institutional and strategic investors and an amazing Rolodex in yourself and others involved in the music industry.

Tim Ingham 25:30

So it’s got all of these amazing things going for it. But it is ultimately a startup. Is there anything that you can carry over from your scrappy orchard days that can help you now? Yes.


Scott Cohen 25:40

And Scrapi is a great way to characterize those really early days when Richard Goddard and I started it. I think one of the big takeaways from the earliest days of the orchard is that the notion that the ideas are often revolutionary, but the change is typically evolutionary.

Scott Cohen 26:02

In other words, it takes a long fucking time for change to happen way longer than you expect. Like in 97, when we launched the orchard, we’re like, oh, this is amazing. Everyone will do this and it’ll just take off.

Scott Cohen 26:15

It didn’t quite take off immediately. It seems so obvious to us, but maybe it takes a little longer in reality. The other maybe takeaway is, and I really learned this from Richard, he’s been a great friend and a brilliant mentor, is that you have to create opportunities for all participants in order to succeed.

Scott Cohen 26:38

At the orchard, if you were an independent artist or label in the 90s and early 2000s, you didn’t have access to put your records into record shops globally. Maybe you can get it some in locally. So what we did was we essentially unlocked that opportunity, not in physical spaces, but on the web to say anywhere the big artists of all time are selling their records, you can sell your records right alongside them.

Scott Cohen 27:06

So giving them that huge opportunity, but that opportunity for those independent artists and labels was also the benefit to the fan. Because now the fans said, oh, I’m not restricted by the limited shelf space of a physical outlet in my town.

Scott Cohen 27:21

I can buy only these records. I can buy everything and it brought everything to them. So this unlimited selection benefited the fans as well. So we’re trying to apply this same philosophy to everything we do with jukebox to say this needs to benefit the rights holders.

Scott Cohen 27:40

This needs to benefit the songwriters. It needs to benefit the recording artists. It needs to benefit the retail investors. It needs to benefit the fans. If it benefits everybody, then we have a chance at success.

Tim Ingham 27:56

Well, I think you sum it up really because jukebox is not eating anyone else’s lunch. That’s part of what’s so intriguing and exciting about it from a commercialization of the music industry perspective.


Tim Ingham 28:06

This is additional revenue that those music rights holders didn’t have yesterday. So that’s part of why I think you’ve managed to win that level of enthusiasm at what could ultimately be gatekeepers for the success or otherwise of the platform.

Tim Ingham 28:20

So that must be exciting in and of itself. Absolutely. I’m going to run some numbers on the orchard here. Forget anything wrong. Please do correct. I just read a few reports from the time. So Sony acquired half of the orchard in around 2012, is my understanding.

Tim Ingham 28:34

And the reports at the time said that was for around $50 million, cash and equity. And then Sony acquired the other half, this one I am on Shura ground, because I think there was an SEC filing for around $200 million.

Tim Ingham 28:46

And that was just three years later. So what want people to get into their heads there is that the value of the orchard therefore seemed to quadruple in three years. Today, it’s surely got to be a billion -dollar business.

Tim Ingham 28:57

It’s heavily profitable. Rob Stringer said that on Investicles a number of times. And it’s an incredible growth story, both when you were involved, just looking at those numbers that I gave there. And then also when you are no longer involved in just watching this as an interested founder, what lessons do you think the music industry, the wider music industry, could learn from the growth of the orchard?

Tim Ingham 29:18

And the part I’m really interested in is Sony’s early investment in and embrace of the orchard. A time when it’s fair to say other record companies saw the orchard and others that came along later as a sort of existential threat to what a major label would be.

Scott Cohen 29:34

It’s funny you characterize it as an early investment because Richard and I founded the company in 1997. So 2012 is 15 years later. So I would hardly call that an early investment.

Tim Ingham 29:48

That’s a good point. I guess I should say relative to other major music companies. So, let’s qualify that.


Scott Cohen 29:54

Listen, I also want to be clear, I love Sony and Rob Stringer is great. I actually knew him in the early 2000s when I was managing a band as well as running the orchard because you get cash wherever we could and he signed an artist to Sony back in the day when he was still based in London.

Scott Cohen 30:13

But 15 years after, they recognized the opportunity, but we were already fairly mature at that point. And by the way, I’m not even saying that’s a bad thing. That’s how they operate. Prove it out, prove that it’s real and they’ll invest.

Scott Cohen 30:27

We were doing some things that we thought were pretty normal in the early days. Looking back now, I see, yes, to your point, wow, that they got into that. We founded the company in 1997 and when we did our first statement to our first artists and labels, we were like, we don’t send out paper statements.

Scott Cohen 30:48

We just log into your account. And then we had a line item of all the activity that happened. It seems so natural, but at the time, that level of transparency didn’t exist. This was like, okay, you had one download here, you did this there, on this date this happened.

Scott Cohen 31:08

Think about what royalty statements were back then and even to this day. Having Sony enter this environment with, this is one example, that level of transparency, I think was a real testament to how they’ve moved this organization.

Tim Ingham 31:27

I do remember having a dinner with a senior major music executive, I’ll leave it at that, who wasn’t part of this setup, who, and this is not that long ago, we’re talking maybe five years ago, who described the orchard as the cannibal within at Sony.

Tim Ingham 31:40

And I will this out a few times because it just speaks to the attitude at the time that to your point, I guess, obviously more generous artist deals, artists owning their copyrights, that putting pressure on the length of licensing deals that majors could do, et cetera, but also the level of transparency that you sowed the seeds for.

Tim Ingham 31:58

It’s just funny that that attitude seems to have turned around quite quickly once over the last five years or so. It’s kind of fascinating to me in the world of Taylor Swift and others doing their very different types of deals with the majors.


Scott Cohen 32:12

Yeah, they had the deal structures they did for many decades and it worked. And I actually think it’s a better industry, even if the deal terms are less favorable to them. But guess what? They’re more favorable to artists and we as an industry need to be in service of the great songwriters and the amazing recording artists.

Scott Cohen 32:31

That’s what we owe our careers to. So I’m happy that they’re doing better deals than ever before.

Tim Ingham 32:37

100%. I guess there’s less A &R risk on their side because they get to invest at lower risk early and then watch the artists move through their systems, etc., etc., until they end up spending megabucks on them when there’s a chance they could become the next Drake or the next Taylor Swift.

Tim Ingham 32:50

So everyone wins. I want to come back to jukebox specifically. I’ve got a sort of penultimate question for you, which is, let’s jump five years into the future. So 2028 -ish. What does the ideal scenario look like for jukebox then and how big can it become?

Scott Cohen 33:07

But what I’d like to see is a future where music as an asset class, where regular people buy it, is completely normalized. This is no different than investing in real estate or investing in shares of Apple or Tesla or Microsoft that you also seem totally obvious.

Scott Cohen 33:30

Of course, and I own shares in Halo that Beyonce recorded and I bought Ryan Teter’s part of his publishing share. Like, I want this to be completely normalized. That’s kind of my future gazing that I would like to see.

Scott Cohen 33:46

Again, when we started the orchard, a lot of the things we were doing back in the 90s when we were telling people not only will people be consuming all their music digitally, they’ll also be creating it digitally.

Scott Cohen 33:59

This was just a mind -blowing thought for people. We started a few years before Napster. But even when Napster came along, yes, people in the industry viewed it as piracy, but they were dismissive of it because ultimately, why would you want some crappy MP3 download?

Scott Cohen 34:18

People want the CD, they want the liner notes, they like to hold it in their hand and the tactile experience and they love going to the record store and all that. And they could never imagine that the industry would flip to what it is today.


Scott Cohen 34:32

And so that’s what I’m saying about music investing or investing in music. I want this to be as normalized as digital music became. I just hope the timeline isn’t as long.

Tim Ingham 34:45

final question we tend to ask of most people in the interviews we do and one of the things I think is most interesting about this question is your answer may change if this was tomorrow or it may change if it was this afternoon or in six months time and if I could give you a magic wand right here and now and you could tap it on the table and you could change one thing about the modern music business what would it be and why?

Scott Cohen 35:07

Hmm. I think I’d like to find a new center. Meaning there used to be radio stations or MTV or even the main page of iTunes. These were a place where a few lucky artists could be consumed by everyone.

Scott Cohen 35:27

Like if I looked at the charts from any era, any era, I don’t care from the 50s, I’ll know, I imagine everyone listening to this will know almost every one of those songs. You don’t have to like them.

Scott Cohen 35:43

You don’t have to be a fan of them. But you go, I know that song. And it was kind of the same with film and television. That’s been so dispersed now that that I might see names on charts. I’m lucky if I actually know the name of the artist.

Scott Cohen 35:58

But even if I know the name of the artist, can I think of in my mind what that song is? Can I hear it playing in my in my head? I really think I really believe strongly that healthy societies need share cultural experiences and music can lead the way.

Scott Cohen 36:18

So I would love for there to be a center again, not going back to the ways that it was, but a new center where love it or hate it. You know that the big songs in the world. you

Tim Ingham 36:32

Yes. There is a slight irony, if you forgive me for pointing it out, that an individual who helps start the Blizzard. I know. It’s just so cool. The Blizzard’s got a bit too big at this point, which I actually wholeheartedly agree with.


Scott Cohen 36:48

I don’t think it’s music exclusive. I think everyone should be able to put out music. I don’t know what goes beyond a blizzard, but what’s going to happen with AI is the perfect storm. With that said, I still think it’s a good idea to have it distilled down and say, and here’s 10 songs that everyone hears and has an opinion on and loves them or not, because I don’t care how far back you go, Frank Sinatra and Elvis Presley or Michael Jackson or Madonna, we all go, we all know those songs.

Scott Cohen 37:18

Abba, like we all know all. You don’t have to like them, but we all know them. And I think that’s important.

Tim Ingham 37:25

Yes, echo that with the sort of the idea that their music is always a kind of cultural tapestry of the time. And so the idea that that tapestry gets frayed or dissolves slightly is a shame. So I completely agree with your point and also the fact that you can wear both of those hats.

Tim Ingham 37:40

You can enjoy the new technology and the disruption it’s caused and even be a proponent of it at a certain time of your career. And while also pointing out the fact that a cultural and a mutual cultural understanding of the biggest hits is a great thing.

Tim Ingham 37:53

Scott Cohen, I’ve really enjoyed talking to you. You’ve always, as we’ve discussed through this, been on the cutting edge of technology’s influence on the music industry at various points in your career.

Tim Ingham 38:02

And I sincerely hope that Jukebox is the next one and we’ll be watching with interest. Thank you very much.

- End -

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Exhibit 99.2

Transcript: Alts.Co Blog

Sponsored by Jukebox Co.

September 29, 2023

BLOG POST

JKBX Review: How music royalties evolved

(and how you can invest)

By Stefan Von Imhof

September 29, 2023

Welcome to Deep Dives, where we explore interesting companies in the alt investment space.

Today we’re exploring music royalties, through the lens of a company called JKBX.

 

LOGO

This issue was sponsored by JKBX. They’re turning music royalties into an alternative asset class.

The platform is promising a deep, meaningful set of songs that will be available to both accredited and non-accredited investors.

On a personal level, I think this is the most exciting music investment platform to ever hit the market, period.


Let me show you why   LOGO

Table of Contents

 

    
      

Streaming is eating the world

     3  
 

It all started with Bowie

     3  
 

Hipgnosis Songs Fund

     5  
 

A market with unique benefits…

     7  
 

…and some unique risks

     9  
 

Problems with investing in royalties

     9  
 

Problem 1: Selection and quality

     10  
 

Problem 2: Liquidity

     13  
 

Problem 3: Regulation

     14  
 

How does JKBX work?

     15  
 

Royalty Shares are securities

     16  
 

Liquid secondary exchange

     16  
 

Creator Program

     16  
 

The team

     17  
 

Scott Cohen, CEO

     17  
 

Whitney-Gayle Benta, Chief Music Officer

     18  
 

Sam Thacker, COO

     18  
 

The JKBX Rollout

     18  
 

Phase I – Reserve

     19  
 

Phases II and III – ETA Fall: Invest & Trade

     19  
 

Closing thoughts

     19  
 

Further reading

  

 

2


Streaming is eating the world

Let’s say you’re relaxing at home, listening to your favorite music on Spotify.

You probably think each time you stream a track, it puts a little money in the artist’s pocket, right?

Well, in reality, the payout might be going to someone who’s never touched an instrument in their life. (It’s not a good thing or a bad thing, just a fact!)

The revenues generated by a piece of music are known as royalties, and they come in many forms. Streaming royalties are by far the most dominant. Last year, streaming made up 84% of all US recorded music revenue.

Licensing fees from TV, movies, and commercials can be lucrative, but streaming is eating the world. Thanks to streaming royalties, songs have become stable, revenue-generating assets.

Usually, the artist, label, publishers, and songwriters get paid for each stream. But what many people don’t know is that the right to profit from a song can actually be sold.

Today, innovative companies like JKBX take these steady revenue streams, and securitize them into investable assets.

It all started with Bowie

In 1997, music legend David Bowie got paid $55 million to essentially lease out his music catalog for 10 years.

 

3


Securitizing royalty income streams can be done in a bunch of different ways. But fixed-rate structures are no longer common. Instead, these securities usually just pass through the cash flow from the royalties. (Think of it like a stock dividend).

If you don’t own your masters, your masters own you. – Prince, Rolling Stone Magazine, 1996

David Bowie must have read this article, because a year later he had the brilliant idea to partner with investment banker David Pullman and issue a new type of security he called “Bowie Bonds,” which are considered the first example of music securitization.

Bowie Bonds offered investors a unique investment opportunity, where for just $1,000 they got a 7.9% interest rate over the course of a decade. The collateral for the bonds were the royalties from Bowie’s past and future album sales, and his live performances.

 

So, how did he spend the $55 million? A good chunk went to buying back the rest of his masters from his old  business manager.   LOGO

Bowie’s catalog was later re-sold for $250 million.

Today, artists routinely sell their catalogs. Justin Bieber, Dr. Dre, Sting, and most recently Katy Perry — who didn’t own all her masters, but sold her stake:

So who’s buying these catalogs?

In the past songs and albums mostly been scooped up by PE firms and forward-thinking hedge funds.

 

4


But one of the biggest stories here is a huge music rights investment fund called Hipgnosis.

Hipgnosis Songs Fund

Over the past 5 years, a mega music fund called Hipgnosis has bought over 65,000 songs, including entire catalogs from Shakira, Barry Manilow, Nelly, and hundreds of other artists.

Originally founded by Merck Mercuriadis and Nile Rodgers (the guitarist from Chic), the fund has now amassed more than $2 billion worth of music. When it comes to acquiring song rights, Hipgnosis is the fund to know about.

Hipgnosis is comfortable shouldering all of the risk of paying upfront, though our friends from Chartr put it, Hipgnosis may be slightly “overstuffing” their playlist portfolio…

 

5


LOGO

Graph courtesy of Chartr

But so far it has paid off. And their portfolio is powerful not only because of the caliber of songs it contains, but also because Hip is known to actively manage their catalog; meaning the songs continue to get played in new ways (TV, movies, etc.), and meaning streaming continues to grow for the songs in their portfolio.

 

6


A market with unique benefits…

Music is a fascinating investment because its consumption is relatively unrelated to economic activity – in fact, people might want to listen to music more during a recession.

Music revenue has had essentially no correlation with overall consumer spending in recent history.

 

7


LOGO

Chart courtesy of Goldman Sachs

This low correlation makes music an excellent diversifier. And while the average return on such an idiosyncratic asset class is a bit hard to determine, industry revenue continues to climb, driven largely by growth in streaming.

Intriguingly, you may also be able to depreciate your royalty shares over time. This results in favorable tax treatment for the asset class, similar to real estate. (But consult with a tax professional to dig into the details here).

 

8


Aside from all these financial benefits, investing in royalty shares is also a passion play. It serves as an excellent way for fans to connect with artists by owning a piece of the revenue stream of the work they enjoy.

In that sense, it’s similar to how fans of publicly traded sports teams enjoy purchasing their team’s stock, like Manchester United ($MANU).

But before JKBX came to town, fans had a difficult time accessing tracks from popular artists.

…and some unique risks

Investors have no control over how the underlying assets are used. That right usually lies with the record label (or more technically, whoever owns the “master”)

In a sense, investing in music royalties is like investing in a tech company.

The founder still calls the shots — you have no say in how the business is run. But you can share in the profits.

Problems with investing in royalties

There are three big issues with royalty investing:

 

  1.

Selection and quality

 

  2.

Liquidity

 

  3.

Regulation

 

9


JKBX wants solve all of them.

Here’s how:

Problem 1: Selection and quality

In my opinion, the big problem with royalty platforms right now is the lack of high-quality music on offer.

The music industry famously follows a power law. The most popular artists are many, many times more financially successful than less popular artists.

 

10


LOGO

Another graph from our friends at Chartr

Having popular artists is critical to get people onto the platform.

Since part of the attraction is allowing fans to connect with their favorite musicians, it’s really important to make sure you have a good selection.

Some existing platforms like Royal.io have had a few solid offerings, including songs by Nas and The Chainsmokers. Not bad.

 

11


But until now, there has yet to be a platform with the industry connections necessary to cultivate a well-rounded set of high-profile investment offerings. So many of the artists/tracks on other platforms are (in my opinion) “tier 2” and below.

And yes, it’s still possible to make money from smaller, less popular artists. But there’s an argument to be made that high-profile songs might make the most financial sense as investments because of their streaming strength.

JKBX doesn’t have this problem at all.

Their platform will feature some of the most famous artists in the world.

Check this out:

 

 

“Halo” as recorded by Beyoncé

 

 

“Welcome to New York” as recorded by Taylor Swift

 

 

“Rumour Has It” as recorded by Adele

 

 

“Counting Stars” and “Apologize” as recorded by OneRepublic

 

 

“Happier” as recorded by Ed Sheeran

 

 

“Already Gone” as recorded by Kelly Clarkson

 

 

“Lean on” as recorded by Major Lazer feat. MØ & DJ Snake

 

 

“Sucker” as recorded by Jonas Brothers

 

 

“Burn” as recorded by Ellie Goulding

This fall, following SEC qualification, customers will be able to purchase Royalty Shares of these hit songs, which entitle them to a portion of royalty income.

Trading will officially begin on the platform later this year, after they get final approval from both the SEC and FINRA.

 

12


Get in early ®

Problem 2: Liquidity

Royalties can become more valuable over time:

 

 

If artist income is higher than anticipated

 

 

If growth prospects increase

 

 

If a slew of new users creates new demand

But there’s no way to monetize any of this appreciation if you can’t sell your initial investment!

If you want an active investment market, you need liquidity. Royalties are no different. A functioning resale market gives users the confidence to invest, and creates the possibility of capital appreciation.

Some existing royalty investment platforms (like Songvest, who we did a Deep Dive on last year) don’t yet offer a secondary market.

Others platforms have a secondary market, but struggle to maintain sufficient liquidity for it to function properly.

But JKBX is planning on addressing the liquidity issue head-on, by working with market makers to ensure there is a buyer for each and every seller.

 

13


 

By using market-makers, JKBX can guarantee each user who wants to sell their Royalty Shares has a buyer on the other end of the trade.

This sounds like an easy and obvious solution, but it takes a lot of work, money, and expertise to put into place.

If JKBX can pull this off, they will be one of the first fractional investment platforms (that I know of) that has ever done this. Huge!

Problem 3: Regulation

Finally, many platforms lack the regulatory clarity necessary to give users confidence in the offerings available.

Whether or not royalty income streams are securities can depend on the exact nature of the arrangement. Some platforms, including RoyaltyExchange, have tried to skirt the security question by offering NFTs of songs.

 

14


Leveraging the blockchain to try and get around SEC rules isn’t new, but using NFTs can severely limit legal protections for buyers. And when it comes to Royalty Shares, legal protections are incredibly important.

Possession might be nine-tenths of the law, but with intellectual property, there’s no physical property to take possession of – ownership is entirely determined by the appropriate contracts.

In addition, without sufficient regulatory oversight, investors don’t always receive adequate disclosure about what they’re actually buying. Considering that there are many different types of royalties that investors can purchase (including mechanical, synchronization, and publishing rights), precision about what’s actually on offer is vital.

How does JKBX work?

Unlike previous music royalty platforms, they’re focused on solving the fundamental challenges necessary for individual investors to effectively trade on the market.

Royalty Shares are the securitized music assets that will be offered by issuers on the JKBX platform. When purchasing Royalty Shares, you receive a contractual right to receive a specified portion of royalties, fees, and other income streams embodied in the income interests the issuer receives that relate to royalty rights for a specific music asset or a compilation of music assets. For the sake of clarity, you do not receive any additional rights or licenses, including but not limited to copyrights, trademarks, voting rights, or commercial/personal usage rights.

 

15


Royalty Shares are securities

Like other royalty platforms, JKBX will allow fans to invest in shares of the income generated from music royalties, entitling them to a portion of certain income streams from specific music assets. JKBX has clarified that it believes “Royalty Shares” are indeed securities. Once securitized, this entitles investors to protections of state and federal security laws.

This proactive approach to regulation should grant users some peace of mind in a market that hasn’t always provided much clarity. The offering of Royalty Shares, though, is still pending SEC approval.

Liquid secondary exchange

JKBX is seeking regulatory approval for the acquisition of a broker-dealer license, which is key to their plan of unlocking liquidity for investors.

The firm has already partnered with GTS Securities, one of the largest market makers on the NYSE, to support competitive trading on the JKBX exchange.

But putting all the pieces together will take time, and the potential for regulatory hiccups could keep investors from trading their shares anytime soon.

Creator Program

Finally, one unique aspect of JKBX worth noting is its commitment to support recording artists and songwriters through its innovative Creator Program.The program pays recording artists and songwriters (together referred to as “Creators”) while giving them the opportunity to create their own artist page on the platform.

When a songwriter or producer sells the rights to their work, they do not need to get the consent from the original recording artists.

 

16


Through the Creator Program, JKBX is going out of its way to make sure recording artists are aware of their listings on the marketplace, defying the industry norm.

The team

JKBX has an all-start team with deep experience and music industry connections.

Scott Cohen, CEO

Scott Cohen is a music industry legend.

In 1997, Scott co-founded The Orchard, the world’s first digital distributor of music. He sold it to Sony, then became Chief Innovation Officer at Warner Music Group, one of the “big three” recording companies.

 

LOGO

Scott also co-founded Cyborg Nest, a company augmenting human sense with artificial organs. The guy is on another level.

 

17


Whitney-Gayle Benta, Chief Music Officer

Whitney has 20 years of experience in the music industry, most recently serving as the Global Head of Artist & Talent Relations for Spotify.

Before that, she helped launch Diddy’s Revolt TV and Media network and worked for MTV.

 

LOGO

Sam Thacker, COO

Sam Thacker released two studio albums and toured nationally early in his career. He later had a stint at McKinsey followed by a career helping startups achieve profitability and growth.

The JKBX Rollout

JKBX is rolling out in several stages, the first of which launched in September.

 

18


Phase I – Reserve

Today, you can set up an account on JKBX.com and indicate your interest in the first assets to be made available on the platform. By reserving shares, you’ll help JKBX gauge interest in the offerings and be the first to know when you can purchase the shares once the platform’s primary and secondary markets (Phases II and III) launch.

Note that reservations made at this stage are just non-binding indications of interest. They require no money down, and you won’t be forced to purchase the shares you’ve reserved. But they will ensure you’re part of the first to be notified when the assets are ready for purchase.

Reserve your songs now ®

Phases II and III – ETA Fall: Invest & Trade

Pending SEC qualification of JKBX’s Regulation A offering, the primary market will get up and running and investors will actually be able to make purchases on the platform. At this stage, the “Reserve” button goes away, and Royalty Shares will be issued via direct listing.

The final phase of JKBX’s rollout depends on FINRA approving their broker-dealer acquisition, which is in process of happening this fall.

Closing thoughts

Let’s be clear: Investing in music royalties is still mostly the domain of large institutions.

Case in point: remember the Bowie Bonds we talked about? They were all purchased by insurance giant Prudential.

 

19


Institutional domination of this space shouldn’t really be a surprise. Securitizing and valuing music rights isn’t easy, and all of the “best” inventory went to funds like Hipgnosis, leaving little left for retail investors.

On a personal level, I feel JKBX is most exciting music rights platform to ever hit the retail market. I love the idea of investing this asset class so much, but I haven’t pulled the trigger yet, because I’ve been so bummed by the selection.

When I first saw the songs JKBX was offering, I knew they would do well. This is it, I thought. This is the blue chip stuff you want.

I’m also especially excited by the prospect of their secondary market backed by market-makers. If they can pull that off, it’ll be truly groundbreaking stuff.

At that point, JKBX will have achieved their vision of becoming a fully-fledged marketplace for buying and selling music, and the big winner will be everyday retail investors.

 

That’s music to my ears.   LOGO

Sign up for JKBX today ®

Interested in connecting with the JKBX team? Email us and I’ll make a personal introduction.

Disclosures

 

 

This was a paid deep dive by JKBX

 

 

Our ALTS 1 Fund has not yet invested in any songs on the JKBX platform

 

20


 

I have not yet personally invested in any songs on the JKBX platform, but I intend to

 

 

This issue contains no affiliate links.

This issue is a sponsored deep dive, meaning Alts has been paid to write an independent analysis of JKBX. JKBX has agreed to offer an unconstrained look at its business & operations. JKBX is also a sponsor of Alts, but our research is neutral and unbiased. This should not be considered financial, legal, tax, or investment advice, but rather an independent analysis to help readers make their own investment decisions. All opinions expressed here are ours, and ours alone. We hope you find it informative and fair.

 

21

ADD EXHB 7 d462927daddexhb4.htm ADD EXHB ADD EXHB

Exhibit 99.3

Transcript: Okay, Computer Podcast

Interview w/ Jukebox Co. CEO Scott Cohen

Sept. 27, 2023

Total Length of Interview: ~ 38 mins; Scott’s section begins at the 25 minutes and 25 seconds mark

TRANSCRIPT

<< Interview with Scott Cohen Begins >>

[DN] = Dan Nathan

[SC] = Scott Cohen

25:14 [DN]

Welcome back to OK Computer I am here with Scott Cohen he is the CEO at jukebox that is JKBX Scott welcome to the Pod nice to be here all right you are an intro from a friend of mine Named Sam hendel who is the founder of jukebox um and he is also the chairman there and and Sam and I have had the the benefit of getting to know each other over the course of the last year or so um he is a huge music fan but he’s also as an entrepreneur and a brilliant one at that and also um I would say just a a killer dude in finance also he has kind of married many of his professional loves and his personal loves into jukebox which is the company that you are the CEO of and he’s mentioned on many occasions when Scott is in town next you got to sit down and talk to him because his background is not traditional uh music executive sort of background but the things that you guys are doing over there is so unique um and it really has the potential to transform the music business in and of itself so again thanks for being here let’s let’s talk a little bit about your background we’ll talk about how you and Sam came to be a little bit because you have a really interesting career um that has obviously been inspired in different aspects by the music business but you have not been in the music business your whole career

26:36 [SC]

well I actually have been in my in the music business my whole career but not a musician right not a musician unless you count playing the trumpet in the third grade

[DN]

were you any good at it


[SC]

I was so bad at it but I was gonna have this at in this kind of I don’t know what you call it you know where the you you get in front of an assembly and yeah you play you know and I was in the band again third grade uh and so so don’t think you know Uber talented third grader like normal yeah greater um and and and I was practicing because I had a big solo the day before I’m practicing and my sister walks in the room and she smash is the front of the trumpet right into my lip and says shut the fuck up as I was practicing and she split my lip which as a trumpet player yeah I’m using that that trumpet player as if I was a trumpet player you know but uh I uh

[DN]

that ended your music career right there

[SC]

That ended my career

27:38 [DN]

I hope you reminded her on many occasions you know I mean that you had to become a music executive to stay close to the music industry

27:45 [SC]

this is the only way I’m back in because I didn’t have the talent or the lip

27:50 [DN]

all right so talk to me like how did you get into the business as an executive and how did you spend most your time over the last couple of decades

27:57 [SC]

well yeah it goes back to the the 90s probably it was 1995 out in office here in the city and I get a call one day from this guy his name was Richard Gottherer who’s now become one of my dear friends in long time business partners and and he calls up and he’s like he heard that I was managing some act and a friend of his from EMI records said he should work with them we should produce an album sell it you know sign them to Emi blah blah blah and he tells me look I I’m a I was a famous songwriter in the 60s I wrote songs like uh My Boyfriend’s Back do you know that song yeah but my boyfriend’s yeah yeah

[DN]

it’s like a doo-wop


[SC]

right . that was recorded by the Angels yeah and in 1963 and then he wrote a song called I want candy

28:45 [DN]

it was like a punk that was like that was like a bit of a

[SC]

later it was first done by the strange things it’s been recorded by tons of people Bow

28:50

[DN]

Wow Wow that’s what I was thinking about yeah

28:57 [SC]

and then and so so it was a song he was a producer he produced Blondie and the Go-Go’s all this stuff so he wants to produce this act and by the way and so I don’t know I’m just taking him out his word um there was no way to Google him because it hadn’t been invented yet the band failed we never got got them signed or anything but Richard said let’s start a record company together and I’m super excited start a record company with Richard Goddard because not only was he a songwriter and a producer he was the co-founder of sire records so if you don’t know sire Records think the Ramones The Pretenders the Talking Heads Madonna Like Superstars

[DN]

They owned the late 70s early 80s into into probably the early 90s

[SC]

yeah an amazing label so we start this record label together um and we get an office down in the Lower East Side and it becomes apparent very quickly that we are the two worst record Executives ever because I don’t know what Richard was thinking because I know what I was thinking that I’m going to work with this guy he’s way more experienced I was only 30 years old at the time he’s 25 years older than me he’s done all this amazing shit and then

30:01 it turns out that although he co-founded sire records he never ran the company he had no idea how to run a company so he thought I knew what I was doing and I didn’t know anything


[DN]

so he had access to the acts basically; he’s a good talker

[SC]

yeah yeah he’s more like a producer like all right and he is a fun guy to go out with great stories so the record label failed miserably I lost all my money but what it did was I had to rely on the new technology of the day I had an idea and that was to leverage the World Wide Web this is 1995. dial-up modems 28 8 not even 56k modems like super slow and what I did was to to get the record label going because we couldn’t get any marketing or promotion or sales um I’ve got a bunch of interns from NYU who came down to work for free by the way I’m totally against free interns now I’ve changed it’s a longer story

31:05 [DN]

I’m with you I think you pay your interns we’ve had plenty and we pay all our interns too because obviously I like just as an aside I just think that they need to like learn about incentives too and if you’re going to be a mentor to somebody you need to teach them how to like act and and how to be responsible and who is a responsible Mentor also so

31:18 [SC]

you should pay them because then what happens is only people of privilege can correct live in New York City and do a free internship because of who their parents are are and paying their rent but I didn’t know any of that I didn’t even know how to run a business let alone to pay an intern but we got them anyway and they were free and we had a whole bunch of computers we actually had 10 computers six phone lines wow and we again dial up modems and you we I’d have the interns go into AOL well message boards because remember the web was very different then there was no music being played no photos no videos all text based but you could see people talking about music and so when they would talk about music in a particular genre because they’d be talking about a band maybe band pages that was something similar to the artists on our label I’d have the intern click on the username and you could send them an email and they sent him an email like hey I see you’re talking about Nine Inch Nails well we have this goth industrial band on our label called godhead check them out 1995 we got a hundred percent response rate

[DN]

wow 100 makes sense I mean and then and then they would run down to Tower Records and they’d buy the album because somebody in the know who like like magically messaged them over something called the World Wide Web they must know if they’re looking


32:37 [SC]

yeah they were so excited because oftentimes it was the first time they ever received an email yeah an unsolicited email but it was their first one they were excited thank you blah blah blah and and because of this Richard and I it’s a long way to get to a point Richard and I had this idea and it wasn’t like a light bulb moment it wasn’t some great Epiphany it was over a couple of years of understanding what was happening in the web by leveraging that new technology to see okay this is going to change the world it’s going to transform things so people will not only be creating a digitally and consuming digitally this will be the primary way it’s going to happen so in 1997 we transformed our office on the Lower East Side which happened to be on 45 Orchard Street into a company called The Orchard which was the first digital Distribution Company of Music 1997. we envisioned a world where people would be going to Virtual stores and buying music and paying for music great idea I was so proud of myself with this idea except we were way too early yeah it was 1997. there was no stores I mean Napster which was illegal forget about Napster but that was June of 1999. iTunes wasn’t until April 2002 or ‘03. It was challenging being so early But ultimately the company became very big I stayed with them until 2019 we sold it to Sony in 2015 I stayed on when I left in 2019 it was doing a billion dollars a year in Revenue

[DN]

that’s crazy you know it’s interesting you talked about the technology of the time and you obviously um had a bit of a I don’t know if you use the term but Epiphany about what this technology could do for a you know a business that was very analog for the most part right and you know it’s funny my senior year in college was also 1995 and I took a class on the world wide web in in the spring right and and I had an assignment and we had to do something using the web to catalog something and you know what’s really interesting this is probably at the time where you know Jeff Bezos um you know decided to leave a hedge fund and start a company um doing e-commerce on the world wide web and he went and you’ve read all the stories he what he figured out what’s the most cataloged thing out there okay that he could put on there and because could list there and then people could come and transact and it was books right and then it went into CDs and it went into DVDs and the like at the time I actually had the same Epiphany as Jeff Bezos but I didn’t do anything with it so for my assignment I was a huge dead fan Grateful Dead okay and the fans there are obviously you know they’re always posting um the the concerts um and the setlist and they’re talking about them that sort of thing and all of a sudden they have this ability to do it on the world wide web and so I cataloged all the shows that I had seen over the last few years now that happened to be the final tour the summer of 1995 and I saw them open in Highgate Vermont in June of 1995 and then Jerry died sadly in early August but I had that Epiphany I did this thing on the web I could have become you know an internet billionaire and web 100 I did not do that by any means but really interesting also in 2011 Bob Weir came on cnbc’s Fast Money the show that I was on and a couple of us were big deadheads and we were talking about this new project that they were working on at the time Bob and he had a partner and it never really went anywhere but my comment to him on air was like you guys for all intents and purposes created one of the first social networks when you think about the network


[SC]

yeah forget about the underlying technology it was the network

36:24 [DN]

correct and that’s the thing it sounds like that you leveraged on back then or over the last couple of decades to kind of build this thing so talk to me a little bit like where you came 2019 you sell the company you go to Warner any epiphanies there

[SC]

yeah so so actually sold the company earlier left after a few years just because I was ready to retire I put in my notice and told him I was leaving um and I and I thought I was retiring and uh I didn’t instead um Max Lucado the CEO of Warner Music Group um convinced me to come on board and I became the chief Innovation officer for the Warner Music Group which was very interesting because if at the orchard it was taking nothing and building it into something huge and at Warner it’s taking something already huge and how do you navigate it into the future you know you can see out onto the Horizon but what’s Over the Horizon um I would so it was an amazing experience but if I’m being truly honest I would say it’s also my biggest career failure um working inside a large organization I don’t know I I maybe I you know it’s me you have to be the right

[DN]

it sucked all the energy entrepreneurial sort of like juices out of you a little bit

[SC]

I think that’s a good way to put I’m trying to say it in the nicest way yeah I prefer building things and the other at a large organization is about you have an idea you know what to do you know how to do it you know who’s going to do it you have a budget for it and you think you can start work oh no you can’t it’s spend the next year lobbying internally and getting everybody aligned and it’s just not the way I operate

37:59 [DN]

all right so let’s talk about jukebox that’s again JK BX let’s talk about Sam Handel how did you get you and Sam meet and then what was the pitch there because again it sounds like you went through this period where where you know amazingly entrepreneurial for a couple decades and successful at it and then have I’m sure you learned a a ton at Warner Music about maybe even things not to do it’d be like the whole idea is a CIO with the Innovation is like you know what’s next but they weren’t really probably ready to embrace you don’t mean how to break the mold a bit and so here you are you meet Sam and and what’s the pitch and and was it the Jukebox that exists we’re going to talk about that obviously


38:39 [SC]

well it’s funny it that wasn’t how it happened it happened that CAA has an executive recruiting arm for entertainment in sports and uh I got this call from from that team Danny berghoff runs the team and and they called me not because they wanted me they called me like you apparently know everyone and we’re looking for somebody that has entrepreneurial experience in the in the music business has built something from the ground up I’m like okay yeah and we’re looking for somebody that also understands large organizations and particularly in the music industry and how that works um if they have a tech background I’m thinking yeah and and blockchain I’m like yeah I’ll talk about blockchain all day long and then I’m like what is this gig that you’re looking for a recommendation and they said well let me sign and sign an NDA it’s not an NDA they told me a bit about the business and I’m like you know what I decided I’m not going to recommend anyone I want this gig and I have to then go back to my wife again and say remember how I said I was retiring from The Orchard and then I said I’ll just do this one gig at Warner retire uh I’m not ready to retire yet um because what we’re what we’re doing is transformation

40:01 [DN]

all right so let’s talk about it I mean so so was the plan that essentially when you met Sam and he laid out is it the plan that you are implementing now as a CEO and let’s describe what that is

40:07 [SC]

um on the highest level yeah I mean he had so so what Sam Handel had done was he and some other folks bought a large catalog of Music we’re talking very large I think they spent 1.1 billion dollars to acquire a catalog of Rights and then added to it and got the until it was I think they ultimately um had 1.7 billion dollars under management and he was looking for new ways to exploit it and he thought how how do we involve the people and fans in in this because when you look around you know you see all these catalog Acquisitions Justin Bieber sold his catalog for 200 million yeah and the thing is I’m not a Justin Bieber fan but I’ll tell you what if I had a chance to buy some of those rights I would have yeah but it was essentially one share yeah which equaled 200 million dollars um so the the idea is how do we let regular people invest in music alongside the big guys

41:08 [DN]

so so Sam you know obviously did this deal they own these rights and again you use the term exploit and you’re really trying to broaden it out and and basically say what are what are the different ways that we can basically monetize these rights to this you know to this catalog um what was it about letting and it’s not just fans it’s people who want to be opportunistic this is


something that we learned a little bit about this kind of whole web free craze over the last few years that seemed to die out a little bit I mean when you financialize things that people have a connection to right sometimes you get animal spirits going and things start trading at levels that maybe aren’t warranted by you know like let’s say you know the fundamentals of the underlying if you will does that make sense a little bit and so I’m just curious like what was it um about you know Sam’s vision for this that really attracted you to the idea of let’s say whoever participating in these rights and it really these are fractional fractionalized ownership of music

42:10 [SC]

yeah I mean his vision of my vision are aligned but also different you know we approach it differently you know for me I saw this as adding a layer of Revenue to the music industry meaning technology and business have come before are typically disruptive and and and that you know uh CDs disrupted the cassette and downloads disrupted the the CD so iTunes took over from CD stores and then Spotify comes in and streaming disrupts the download market so I like what we’re doing because it doesn’t take away so for our business to work we have to have major labels independent labels DIY artists Spotify Apple music uh Amazon we have YouTube

[DN]

so it’s not cannibalizing anything

[SC]

nothing we’re creating a layer of value on top of the existing industry

43:08 [DN]

okay so is the value who’s it being accrued to by the rights holders like so for instance if you think about you know a lot of folks in the music industry went through a really difficult time as you know during the pandemic right when you think about

[SC]

I don’t know if I agree with that statement

43:19 [DN]

well and you and I you know can chat about that um probably until we’re blue in the face


[SC]

no no but but factually so Publishers and record labels their their business went up there was more music because there’s more consumption right

Touring went down

[DN]

Touring went down but if you talk to a lot of musicians I mean when they were earning the bulk of their income from touring for the most part right right and I don’t mean like the a-listers that are selling

[SC]

We’ll have to do a second podcast

43:44 [DN]

let’s definitely do that but I you know I I know one in particular who’s been on the podcast and was just saying is that like for instance they don’t make any money on their streaming but they have a very like they have a a rabid fan base that where their tickets will sell out to shows and they buy a lot of merch and all that sort of stuff and so like to me you know that maybe that’s purely um anecdotal but what I’m saying is like you know for you guys you own this catalog

[SC]

maybe we should back up because I don’t even think we explain what we do

[DN]

yeah let’s do that

44:14 [SC]

yeah so so so just very quickly so there’s there’s rights holders owners they own copyrights

either publishing rights which means the compositions those people that wrote the songs or sound recordings those people that recorded the songs they’re often not the same people

[DN]

right um but most artists sell them pretty quickly that’s part of their deals for the most part right they go away


44:44 [SC]

not necessarily it’s that maybe they don’t they never own them to get a record deal right then the the record label owns those Master recordings um and they’ll do publishing deals around their their compositions uh and there’s reasons for it right and it’s all positive there’s nothing wrong with it um it is how the music industry Works um so we work with those large rights holders the ones that are buying these big catalogs that you hear about and what we do is we take portions of the income from songs so they keep the copyrights we just say let’s say a song makes a million dollars a year we say all right give us 10% of the song is a hundred grand a year and put some multiple on it 20x multiple or something and now it’s a two million dollar asset we then get that qualified at the SEC through an issuer and one what happens after that is we take those income streams and essentially convert them into regulated Securities that people can buy and sell so who benefits from that well first the rights holders because they’ve they’ve they’ve taken a piece of their catalog and brought let’s say 20x or 20 years income forward and that’s free cash flow that’s that’s a really nice thing who else benefits the the fan and the retail investor because now they can participate in that because then they get a dividend like yield from this and it’s also tradable we added another participant who wasn’t involved in the value chain which is the songwriters and the recording artists because they weren’t part of this like there’s no royalty to be

46:23 [DN]

and that’s where I was kind of getting at in a way because I you know like once they’ve sold away you know those kind of initial rights they were kind of like the record deals were kind of keeping them away from any of those other than just the royalties that come from from stream correct

46:37 [SC]

right right which is so so we created this um or we established this Creator program yeah where we have a pot of money and based on you know if people have music that’s that’s being sold on our platform that’s listed we will pay those creators even though we have no contractual obligation or no royalty obligation it’s the right thing to make sure songwriters and recording artists are rewarded and that just comes out of our our side we just created a large fund for that

[DN]]

yeah and so I when you think about then okay so so as Securities um and you’ve only been doing this for a short period of time so that would assume that there’s a secondary market for for these rights too right and so I’m just curious like have you guys seen and have you been able to have enough um time and data to see like you know like


[SC]

no no no no we have had no time to get enough data we we we launched on September 12th and we’re doing this in a way that’ll feel much like a traditional IPO where every song is its own IPO and so that means in the phase one it’s it’s you know testing the waters you know they’re going around like like a company would do their Road Show and build their book and say who’s in we do that initially and that’s the phase we’re in now the next phases are then the day of the the primary we go back you said you wanted so many shares are you still in um and then a secondary market after

48:04 [DN]

that it’s pretty fascinating so when you think about this and and um you know if you’re a fan and there’s limited ways that you can really engage with like you know like some act right you can um subscribe to a service and they’re getting fractions of a penny per listen right you can buy the vinyl directly from them and merch and that sort of thing you can obviously go to their shows and and that’s what I think there’s but but most fans actually don’t even get to do a lot of that stuff right so this gives you the opportunity to think about it as like if you love this band and you know that you and there’s a community of others right are going to continue to listen to this and they’re going to continue to kind of accrue value you can participate in that upside does that make sense

48:47 [SC]

yeah yeah I think I think there’s two ways that I think about it the first way is I was here in the city in in June I don’t live in New York anymore I live in London so I was here in the city in June and and I heard this guy speak and I wish I could give give his name and credit him but I don’t remember I don’t remember his job but he worked to the NFL yeah and he was pretty senior at the NFL and what he said was fans of football so not somebody that’s not a fan like yay I love the Jets you know get your heart cut out every year but yay I love the Jets or or or the Dolphins or the Patriots it doesn’t matter you’re a fan of football when the fan of football starts playing fantasy football their spend on Football goes up three to four x every year we’re thinking this isn’t Fantasyland this is real when people start investing in music will there spend on music go up as well again transformational uh that’s one, two is I think historically the music industry has not been great about monetization you know you you you sell the copyrights there’s some merch and some touring and then after that there are no more ideas and if I look at other Industries like I have this friend Geno who lives in the North of Italy um that’s why his name’s Gino yo Gino um and Gino was working in the cycling business so you know bicycles yeah um and he said the average cycling enthusiast spends three to five thousand Euros a year on cycling you know they get the gloves the helmet a new seat for their bicycle they get the spandex pants always a good look um and they spend three to five thousand a year then you you look at other things you know yoga like how much that somebody that’s passionate about yoga spend on yoga every year uh they get the math they go to the yoga classes of yoga or treat again with the spandex pants or you like skiing you don’t I’m not saying you love skiing you just like it and you go away skiing how much do you spend three thousand four thousand dollars for a week of skiing yeah now let’s say you’re a passionate music fan pay your Spotify subscription 120 bucks a year you go to a couple of gigs you get some merch a nice piece of vinyl uh uh you might struggle to spend 500 a year to get somebody to spend a thousand a year nearly impossible yet every other passion that people have they’ll spend thousands a year and so what I’m hoping is we can tap into this to say we just need to give people the opportunity to tap into their passions that they love and that happens to be music


51:34 [DN]

well it’s funny that you mentioned the fandom and that you use the NFL as an example because this is something that I say all the time I mean I’m a huge sports fan but I don’t go to that many NFL games anymore because in New York it’s really disappointing like like you just mentioned but here’s the deal you got a 50 50 chance it’s probably actually kind of skewed the opposite way when you go and pay 250 to go to MetLife Stadium and watch the Jets and then you spend you know a couple hundred dollars to get there and a couple hundred dollars on beer and food and this and that whatever there’s a really good likelihood that you’re going to leave there pissed off because they blew the game yes okay so think about that and I’ve been to hundreds of concerts in my life I just went to five in the last month and I spent thousands of dollars between tickets and travel and bring game and post game and all and I am grinning ear to ear so you walk with a band that you love or a festival that you love you walk out ninety percent of the time a very happy person and those to me are really different value propositions and it speaks to exactly what you’re talking about so if I say to myself I have the ability to participate in the um you know I I guess in the success of this band to be part of a community to help them make a living on it to actually cultivate an ecosystem that makes it better for other up and coming bands that did not exist until very recently so I think your point what you were saying about the music business and we should do another podcast is that yeah there was a time that Napster and somebody’s streaming service appeared to have broken it but technology being harnessed the right way really offers a much better ability to monetize fandom if you’re a band and as a fan to actually participate a bit more in in what’s being created as far as the art in the community

[SC]

a a hundred percent yeah yes

53:15 [DN]

should I be a Pitch guy for this thing

[SC]

yeah (laughter)


53:22 [DN]

but I’m also a markets guy Scott so so what you’re speaking to is something that seems really sophisticated you know we’ve seen it in in fractionalized art we’ve seen it in something and they’re not exactly the same you know

53:34 [SC]

it’s similar yeah except this is an asset that’s that’s way more liquid I mean a piece of art is great but you know you’re not selling it all day long it’s like every however many years what I would say about music as an asset class and this is again it’s not about artists but it’s about the songs so you’re not investing in an artist you’re investing in a song with a track record because we can see the earnings history of it right but when you think of music as an asset class for the retail investor it might be the first time they actually understand what they’re investing in like they might buy a tech stock they might buy something as big as Apple but do they actually understand what’s driving Apple’s business

[DN]

Well they listen to chamolis like me rather than listening to your band you don’t even know something like that no no I agree with

54:20 [SC]

but if I put a song one of them if I say here’s Halo written by Ryan Tedder but you know it because this was the song recorded by Beyonce you go oh I know that song and I and I have an instinct that says not only is this song big now but I bet you people will be listening to it 10 and 20 years from now when their High School reunion at their weddings it’ll be used in films in the future I know that song

54:53 [DN]

So how how will fans who want to participate you just said you just launched a couple weeks ago how will they participate in in buying these things where will they own these and and who house these rights if we just think back to a couple years ago in this nft craze a lot of the things made sense about the community about you know participating in the upside of these projects and stuff like that I’m not saying they needed to be blockchain based or anything like that and I had the view back then is like it’s one thing to love a piece of art and to love the community that you’re a part of but as soon as you financialize that it becomes a different thing right and to me he I’ve started in the in the business of markets in the late 90s and we saw the internet bubble inflate and it kept on going much further than most people thought but when it popped it overshot to the downside and I was fairly certain that was going to happen with a lot of web 3 projects and that sort of thing there wasn’t too many ways to short that but the flip side of what you’re doing right now these are financialized assets in in what they are because right I mean


55:50 [ SC]

yeah but so so two two things here that come to mind. First is what we’re doing will be fully regulated by the SEC and finra like let’s just leave it at that - these are securities and the way you buy and sell Securities is you know is is is is - I mean it’s trusted so so that’s very different than what came before. Second I’m a huge believer in the blockchain however anytime the general public is throwing around the lingo of a technology like coins and tokens and crypto wallets and the blockchain and nfts you know it’s immature yeah I mean you said Napster when back in the day of Napster in the early 2000s we knew the technology we talked about MP3s or apple use the AAC format for iTunes or there was WMA which was Microsoft format we talked about codex formats around music but today do you know what file format Spotify uses no apple music YouTube Tick Tock you have no clue music just plays yeah I’m a huge believer in the blockchain and we may we may use it as technology for our company that enables certain things to happen but I guarantee you you will never hear the words nft blockchain tokens coins look the technology is there to serve a larger purpose when you lead with it you know it’s immature

57:30 [DN]

all right so where if I wanna I wanna go look at your catalog I want to look at the offerings that you’re because obviously you’re going to have a very limited amount of offerings I’m assuming uh you know out of the gate and I want to buy you know like rights to these things where do I do it and where do I know that I hold it like you know what I’m saying because it’s like you know I have a Fidelity account I can see what stocks or funds and that I I hold and I and I also have a mark to Market you know what I mean so I’m just how are you guys thinking about all that I know that you have some pretty good models to follow here because again you just use the example of this being SEC and finra registered and we all know what to expect

58:09 [SC]

more than that I should have said this at the beginning but I’m going to say it now please don’t edit this out but I got this this kind of panic message from from our our chief legal officer a couple of days ago and he’s because he knew I was going to be on here and he he asked me read the description um uh and so nothing I’m about to say should be viewed as investment advice or an offer for solicitation of interest in any Securities offering and number two neither I nor jukebox that is the parent company the parent entity in our family of entities nor the Jukebox platform is offering or soliciting interest in any Securities offering

[DN]

just you know as a podcaster who talks markets we have a blanket um disclaimer like that about all guests in this and that


[SC]

because he’s freaking me out like no

58:53 [DN]

but listen it’s it’s fine we we have the disclaimer we’re not going to edit it out it’s good stuff so let’s talk about like like how somebody would access your platform how do they see what’s available how do they purchase

59:05 [SC]

so right now it’s in the testing of the waters phase so they go in and they they can Express their interest like they see us a a a a a share price they see previous years earnings so they can understand it they can we’ve calculated a trailing yield so they could understand if it was based on last year what would the yield be um and then they can express their interest like oh 17.50 a share I’ll take 10 shares

[DN]

and you create a book like you would like you said for an IPO

[SC]

and that is the phase we’re in now you can go there it’s it we’re called jukebox but spelled like a ticker symbol j k b x so it’s jkbx.com go there set up an account and reserve some shares if you so like but I would not advise you of which ones to reserve yeah it’s all non-binding in this stage and then you know soon I can’t you know I have to be so careful with my language about getting qualified by the SEC and we’re in and all of that but when all this happens then you’ll be able to to trade

[DN]

and you suspect early on there’ll be a combination of just kind of early tech adopters music fans uh folks looking to speculate on on stuff

1:00:19 [SC]

well yes and no I actually think music is a fairly stable asset class and an uncorrelated um to to the to the markets um because you know you get paid from music regardless so it doesn’t matter if

[DN]

it’s a kind of recession-proof a little bit yeah


1:00:36 [SC]

yeah um you know and the notion is if if if you know somebody’s getting paid when a song’s getting played it might as well be you yeah so we’re looking at the full spectrum so there’s definitely music fans that are crazy about artists and songs but on the other end there’s retail investors you know there’s 63 million uh individual investment accounts in this country and and it would be great if you know Fidelity customers and yeah Webull customers like from another end of the spectrum of investing have an opportunity to to buy in on this

[DN]

I suspect that happens when you think about how aggressive Fidelity has been integrating you know like blockchain based assets right you know like crypto assets in general um again this is something that there’s data behind you know all this like and if they’re SEC registered um it makes perfect sense to me I mean listen this is pretty fascinating stuff because again um like it’s technology that’s actually the unlock here for some degree and then it also has to be folks that are willing uh you know on a certain level like you know Sam and his Partners they bought this catalog you know what I mean they could have just sat on it and earned the the not passively earn the money but this really does create um a new stream and it creates this kind of connect action where fans have the ability to participate in for further upside but also get in early on some new artists I suspect it’s not just about the Legacy

1:02:00 [SC]

I will say in Phase One we’re focusing on songs within earnings history hit songs that you know I can see later on next year us experimenting and you know these they would then have a much higher risk profile you know what we’re saying is look this song you know was a number one song and this is how much it earns every year it’s very clear yeah

1:02:24 [DN]

and if someone does participate let’s say say this first if you want to call it the version of an initial sort of offering and the thing trades at a price and you own a piece of this where do you own it how do you know that you own it where does it exist

1:02:30 [SC]

well so so it’s either directly with us and you know

[DN]

you have a cusip or something like that as you would with a stock yeah


1:02:36 [SC]

Or if you’re coming through your own uh uh brokerage yeah let’s say a Fidelity or Webull then you’d keep it in that account yeah

1:02:47 [DN]

uh fascinating stuff Scott um this is amazing I hope you do come back I think that you and I would love to talk more about other aspects of the market again you’ve had this story career in the music business not a musician thanks to your sister um who who stunted that very early on but and also thanks to Sam Handel for making this introduction because this is fascinating to me from both a markets person and also somebody who’s interested in music and we’re gonna track this and it’s going to be fascinating to watch how this goes

1:03:18 [SC]

Well to me it’s it’s really interesting because there was music and and the intersection of technology which has always driven music and then there was fintech and then the intersection of music and and fintech I think is super interesting

[DN]

yeah well uh listen I hope you’ll come back this fascinating conversation thanks Scott Cohen the CEO of Jukebox

[SC]

thank you very much

- END -

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