#RAGEINLAGOS | Nigerian AfroRage Artist, Yvng Ceder, signs with IPO & releases his LA to Lagos Promo Video for his upcoming project 'Rage In Lagos'. Pre-Order: https://vyd.co/RageInLagos @yvngceder: https://lnkd.in/gxNzvj27
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To make UX simple and understandable is no easy thing when you have to do it on the side. Can you spare a few minutes to help? Context: What if 2 million Opera Mini users in Africa could partner with funders by raising USDT/cUSD stablecoin for the business opportunities? In the screens below "the partner" seeks funding for the project and the "funder" is the person ready to invest.
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"IT'S TIME TO SCRAP THE CAP". Artists and rights holders aren’t getting paid fairly for songs played on radio. A new report has found that removing royalty caps for sound recordings could mean... i. An additional $4.8 million paid to Australian artists in royalties in 2024-25 ii. Artists played on radio could see up to $19,100 in additional income per year, or a 78% increase in income iii. Top commercial radio stations would maintain profit margins of 15% if they paid the same rate for sound recordings as they do for musical works iv. Increased reinvestment from record labels could see double the number of new local artists played on radio for the first time We support PPCA’s Radio Fair Play campaign to Scrap the Caps. If you want to get involved, sign the open letter, write to your local member, or share this video. #RadioFairPlay #scrapthecap #AusMusic #PPCA
"IT'S TIME TO SCRAP THE CAP" A potential 78% increase in income for artists played on the radio has been revealed today in an economic study into the impact of removing caps on sound recording royalties paid by radio. “Australian artists are doing it tough at the moment. Plenty of recent media coverage has outlined the serious and urgent challenges facing our local industry. The report shows how a fair rate would deliver additional income for Australian artists, as well as drive increased investment from labels into local artist development and promotion, helping an industry that is a proven economic and social contributor reach its full potential” Anabelle Herd FULL REPORT: https://lnkd.in/diyanaMH #RadioFairPlay #scrapthecap #AusMusic #PPCA
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Explore our latest blog post: 'Concertgoing – What Do I Do If I Get Injured?' Gain insights into your rights and legal considerations in case of unexpected incidents at concerts. Read the full blog post here: https://lnkd.in/gmm3mHZK #singerkwinter #personalinjury #torontolaw #concert
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#ENTERTAINMENT| "Wunmi has a hand in Mohbad’s death" - Late singer's sister-in-law Karimot Wunmi’s sister, Karimot Ogunbayo, has shared some incriminating information concerning the death of late singer, Mohbad. Read more| https://lnkd.in/e3fXtXY7 #Mohbad #Gtbank #bbnaijaseason9 #NewsUpdates #entertainmentnews
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#HotTake Big Concert tickets should be treated as an short term asset class seeing how quickly their value appreciates! ?? Ref: Below snapshot is conversation of selling Diljit's Concert Tickets at 10K each which was originally 4K only. #Investing #Dililluminaty #Money
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QUICK HOUSE SALE - BEWARE OF THE SCAMS https://buff.ly/3yMAFkO Thinking about a quick sale of your house? This post helps you answer this question more clearly. We dispel some of the unfair negativity that surrounds our industry and go through some essential checks to avoid the scam artists.
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It is interesting to note that despite these restrictions (Dramatists Performance Act, 1876), Indian playwrights always found a way to stage their performances through a variety of means such as fooling the govt. with script and altering the dialogues while in performance. Theatre in those days were mostly political and dedicated towards a common cause. At the same time, it's sad too, to note that today, when there are no restrictions as such, the staging of plays and audience have decreased to a large extent. Several other factors can be listed but one of the reasons I feel is that the 'common cause' is missing. It need not be political as in pre-independence. It can be social as well, dedicated to fighting against the unjust social issues and customs.
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My very smart and clever friend Patrick Gracey makes some excellent points here. There are many affordable seats across Australia. Those top prices are part of an overall revenue strategy designed to mitigate the risk and rising cost of production. I assure you, in any case I've witnessed, this is not a money grab. The cost of inflation is directly hitting the cost to mount productions, and our clients talk and work tirelessly to find ways to deliver accessible pricing to a broad audience. However, we're only looking at half the picture if the conversation about audience attendance is solely about price. It is also one of relevance. During many recent conversations, a recurring theme has been the impact of the cost of living on sales. While this is a significant concern, it’s not the sole determinant. Anthem's commissioned research indicates that audiences now place a premium on their TIME, seeking experiences that justify their investment, both in terms of money and time. Therefore, it's crucial to assure them of the value they will gain from the experience. In lamens terms, they need to know the product will deliver on the promise. This comparison extends beyond audiences comparing live events to other live events. They are comparing that time investment to experiences that include restaurants, new streaming series, movies, or even a hike. Everything competes for attention, and everything can be content. Therefore, your creative and content strategy must be tailored to different audiences and cohorts. Studies from Harvard have shown that the biggest drivers of purchasing decisions are status, scarcity, and hype. Moreover, as we witness the largest shift in generational wealth in history, the purchasing power is moving towards an audience that no longer responds to traditional advertising. This audience is 3.25 times more likely to buy a ticket if it’s recommended by a friend, underscoring the need for highly segmented, highly creative, and thumb-stopping content from the moment you announce your production. In this competitive landscape, it’s crucial to be bold and innovative. People remember unique experiences, so don’t be afraid to try something new. If you’re interested in discussing this further over coffee, feel free to hit me up in the DMs.
Producer. Board Member. Chair, Society of London Theatre & UK Theatre Policy, Research & Advocacy Committee.
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