Bryan Warman

𝐒𝐭𝐫𝐞𝐚𝐦𝐢𝐧𝐠: 𝐒𝐭𝐨𝐩 𝐂𝐨𝐦𝐩𝐥𝐚𝐢𝐧𝐢𝐧𝐠 𝐚𝐧𝐝 𝐒𝐭𝐚𝐫𝐭 𝐖𝐢𝐧𝐧𝐢𝐧𝐠! It's great to see more conversations around artists making money through streaming. For years, many in the industry have criticized DSPs for their low per-stream payouts. While it's true that stream payouts are low, look at the music industry now: streaming has made it healthy again. Much of the criticism about streaming being unfair is driven by frustration and misconceptions, often from artists who don't fully understand the business side or from managers and labels who struggle to make it happen. Like any industry, music operates on supply and demand. Many artists expect to earn a living wage through streaming alone, but as Colleen Theis, President and COO of The Orchard, pointed out, it's demand that dictates success. If listeners don't want to repeatedly enjoy your music, it's unlikely to generate significant streaming revenue. I've seen many people complain that streaming subscription fees are too low. But let's be realistic—things are moving in the right direction. Just ten years ago, paying $10 a month to stream unlimited music seemed impossible. In the next decade, it won't be surprising if $10 per month becomes the norm for other services, like unlimited Uber deliveries. Instead of complaining, let's get to work and make the most of the opportunities that streaming presents!

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Deepna Devkar, Ph.D. what a treat having you on the podcast! If you’ve ever wondered what goes into building your personalised experience on Max, this is the episode for you. Tune in to hear from one of the minds leading the build of the platform experience!

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Just finished "Measure What Matters: Succeeding with Objectives and Key Results (OKRs)" by Measure What Matters, John Doerr, and Ryan Panchadsaram! Check it out: https://lnkd.in/eigRzG_d #objectivesandkeyresults.

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Tip of the Week: Control the things you can, find someone else for the things you can't. It is not uncommon in the film industry to find producers who want to control everything, every tiny little detail... In common jobs this is called micro managing. The film industry is a collaborative industry, it has to be with the amount of jobs on a film set. the problem is too many people think that is where it stays, you should be collaborating at every stage not just filming. Find people who can do the things you cannot and let them do their thing.

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🎶 In a record-setting year for the music industry, sales of recorded music in the U.S. soared to $17.1 billion in 2023. Streaming led the charge with 84%, while vinyl saw double-digit growth. Discover more about the music boom and the changing landscape from the latest RIAA report. https://lnkd.in/ghEaTMYY #MusicIndustry

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Get a glimpse of TIANA’S BAYOU ADVENTURE and COUNTRY BEAR MUSICAL JAMBOREE in our latest episode!

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Paying out an additional £6 million (approx. USD $7.7 million) in royalties from online services - “UK-based royalty collection society PRS for Music says it will be paying out an additional GBP £6 million (approx. USD $7.7 million) in royalties from online services to songwriters and composers annually, thanks to a reduction in its administration rate. The collection society said it’s reducing its admin rate on multi-territory online (MTOL) royalties by 20% – from a 10% rate to an 8% rate – as a result of the CMO “surpassing its targets, delivering historic distributions and revenues, and becoming a billion-pound society.” Announced at its 2024 Annual General Meeting (AGM) today (June 4), PRS estimates the reduction will see £1.5 million more paid out to members in each of its quarterly royalty distributions starting from October this year.” #PRS #CMOs #UK #MusicRoyaties #Songwriters #Composers #MusicPublishing #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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“Following the US government’s explosive lawsuit against Live Nation last week, a class action has been filed with the New York courts potentially on behalf of millions of American ticket buyers. Like the government’s litigation, the class action lawsuit accuses Live Nation and its Ticketmaster subsidiary of anticompetitive conduct. Although the impact of Live Nation’s dominance on the ticket resale sector seems to be of particular concern. “Over the past three decades”, the new lawsuit states, “Live Nation and Ticketmaster collectively built empires in several key markets within the live concert and event economy”. The merger of the companies, in 2010, then created “a vertically integrated monopoly and juggernaut trust”. As with the government’s legal action, the class action sets out Live Nation’s dominant position in tour promotion, venue management, and both primary and secondary ticketing across the American market. The allegation is that it exploits its dominance in the various different strands of live music to force venues into exclusivity deals, and to prevent rival ticketing companies and ticket brokers from selling tickets to many major shows, even when Live Nation itself isn’t the promoter. And where Live Nation is the promoter and the primary ticket seller, it also seeks to restrict the flow of tickets to rival resale platforms.” #LiveNation #Ticketmaster #Live #DOJ #Legal #Fans #Touring #Talent #Artists #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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“Who says the album’s irrelevant in 2024? Besides breaking several streaming records, Taylor Swift’s The Tortured Poets Department approached two million “traditional album sales” during its first week of availability, according to new data. That sales milestone, reflecting albums moved across permanent downloads, cassette, CD, and vinyl alike between April 19th and 25th, entered the media spotlight in a breakdown from Billboard. Citing Luminate data, the outlet specifically identified 1.914 million Tortured Poets Department units sold directly throughout the stretch. Notably, vinyl accounted for 859,000 units within that sales sum – leaving north of one million units for digital, CDs, and cassettes. As calculated in album-equivalent units, the overall figure came in at 2.61 million for the lengthy project during the same period, per the breakdown. While Swift’s commercial feats already command ample media attention – we’ve covered the multiple on-demand records attributable to The Tortured Poets Department – selling two million traditional albums in one week is especially significant given streaming’s prevalence.” #TaylorSwift #Streaming #StreamingServices #StreamingMedia #MusicStreams #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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🚀 Reimagining Hollywood: The Tech Revolution Blueprint 🌟 In the dynamic world of media and entertainment, advancing technology and branded entertainment are transformative pursuits. This week’s PlayStation State of Play highlighted fascinating insights. Games as a Fountain of New IP: The gaming industry continues to create innovative IPs that captivate and inspire. Sony’s focus on live service games points to a future where games blend seamlessly with film and TV, showcasing great business models. Branded Entertainment: Major players like Amazon, Nike, and Coca-Cola are pushing into branded entertainment, following the example of Original Film. SEGA saw a 10x sales jump from its first movie and 20% YOY growth after that. Innovation Meets Purpose: At the heart of these advancements lies our goal to create meaningful and immersive experiences. The convergence of technology and storytelling redefines entertainment. A Collective Effort: Visionary leadership and collaboration drive change and fuel innovation. Great people are coming together to push boundaries and lead the way, embracing intelligence, technology, and market dynamics. The Future Our civilization was built on a spirit of discovery, of exploration, of industrialization. Where are we going? What world are we building for our children and their children, and their children? A world of fear, guilt, and resentment? Or a world of ambition, abundance, and adventure? In the words of David Deutsch: "We have a duty to be optimistic. Because the future is open, not predetermined and therefore cannot just be accepted: we are all responsible for what it holds. Thus it is our duty to fight for a better world." It’s time to build. 📣 The revolution is here, and it's just beginning! 🚀 #TechRevolution #Innovation #TechLeaders #EntertainmentRevolution #NewLeadership #TechInMedia #FutureOfEntertainment #PioneersOfTechnology

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Learn how to manage firearms safety from our experienced guests like filmmaker Frank Ziede, and hear about how using VFX can prevent on-set firearms deaths, in this very important episode of VFX for Indies. Please tune in at vfxforindies.com, our YouTube channel, or your favorite podcast app.

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And so it begins. Cable 2.0 is here.

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Wondering how music transforms lives? It transforms in many ways that you could ever imagine. I've seen the magic of music and its healing power. That’s the beauty of it. You don’t have to be a professional musician to reap the benefits of music. Let me share with you how it transformed lives and how it can transform yours too. To read my article, click on this link https://rb.gy/e6xbbu and get your FREE access to Empowering Humanity Magazine™ Now!

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A very important read given original IP seems to be seeing its bleakest moment in the streaming and studio business across regions especially for scripted series. Choosing to adapt existing formats/books/film to TV….. it’s the need of the hour perhaps. Building original content libraries if I can call it that, in each new market with its own content appetite and unique culture of crafting/writing - it seems to have run its course and I hope I am wrong. Back when Development Executives and Development verticals in studios were considered assets, their job was to devour manuscripts, sometimes upto 10 a day while writing coverage and re pitching these new IPs to content heads on a weekly basis. It was a factory assembly mode style of working and it was so rewarding! While interning with Mandalay in LA in 2013, it was manna for a studio intern fresh out of Uni to get on endless calls with Lit Agents and Managers and Writers across agencies. All I did was listen to ideas, read everything anything, watch short films, watch docus, watch spec trailers, pilots and hunt for not just new talent with more ideas but match existing submissions to new talent that agents constantly pitched to us. Weekends were informal pitch sessions again in house parties and hikes and cook out sessions with other content execs and interns across the valley, across Culver City, across all of LA. What a fantastic time to train as real execs in the real world and finding mentors across studios in the form of Syracuse alumni passing on sound business ethics and learning’s every week! Now that shareholder sentiments are nervous to keep up with old business models for IP and the age old principle of ‘collect, build and wait’ may be on pause, my two cents. It’s back to the drawing board for us all, especially my writer/director friends. Time to innovate on HOW you pitch when you get that golden chance to. Think out of the box, use AI, ask for help from your cinematographer/editor/tech savvy friends and pitch with optics and sound and production theatrics! And then, give equity and credit if not money yet, to all those who are putting in their time to get your original IP out there. A director I know as optimistic as a man can be in these trying times reminded me last week “Ranjana to quote Mark Duplass, the cavalry is not coming. Sirf hum hi hey (it’s just us now)” Find your general and soldiers, if you want to change the course of the tide in these times. The collective might goes longer than the individual spirit in not just good times but also troubling times. Stand together and stand strong!

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Our second episode of WE CALL IT IMAGINEERING debuts on YouTube tomorrow, check out the teaser below!

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I’m thrilled to share exciting new research No Guarantees has commissioned in partnership with leading trends and generation research firm Culture Co-Op. The report explores what Gen Z and Millennials think about Broadway, examines the reasons they aren’t showing up, and suggests strategic steps the industry can take to cultivate new, engaged audiences. The research shows that Gen Z and Millennials’ lack of Broadway attendance is not due to details like a particular show’s cast, subject matter, or number of awards it has received. Instead, it’s a handful of deep misconceptions about Broadway itself, like confusion about ticket prices, the number of shows playing at any given time, access to tickets, and who Broadway is even meant for. The great news for Broadway is that while Gen Z & Millennials may not know much about individual shows or what’s happening in the theater industry, the Broadway brand remains extraordinarily strong. They are curious about us, and 91% even reported being more interested in Broadway simply by taking the survey! They’re ready to be brought into the fold. This gives all of us the ability to appeal to the existing interest of new, young audiences and develop a modern, actionable strategy to make it happen - to meet people where they really are. There’s so much to dive into so please check out the full report, which you can download at noguarantees.com. Please feel free to reach out with any questions, comments, or ideas!

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