Greater Cleveland Film Commission’s Post

Consider this thoughtful book for your musical friends X

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Thanks for this Doug. Community-based radio is powerful, we all agree. I've taken a close look at CKUA's financials, to try to understand why this sudden funding gap. Costs overall are up, quite considerably, across the organization; donations have been constant; and as you point out, the organization needs paying tenants for its building. What I'm wondering- is there another missing piece in this puzzle to explain the urgency? Here's a link to an intriguing article about CKUA's funding pathway- https://lnkd.in/gWdUjybP

Thanks for sharing this Steven Farris - a great article which really says it how it is. It’s incredibly tough out there for any artist that is not a big name. Imagine being a young person inspired to make music but having to think about different career choices because they know how hard it is to make money. It doesn’t seem right that the infrastructure around an artist can charge what they want and the artist gets very little. Any of us in the industry know that everyone needs to make money to survive, but there is a definitive and noticeable gap of lack of funds affecting the whole eco system around lesser known bands and smaller venues. Spaces for bands to perform are limited. A venue needing to cover costs will consider a band if they can sell out the venue. Where does that leave new bands trying to get out there if they can’t guarantee to sell tickets or they haven’t got a huge fan base. There is no scope any more to lose money opening the doors with the battles hospitality industry are facing. So it’s understandable to mitigate risk. The bigger bands with huge production set ups are charging higher rates on tickets that now are unaffordable and out of reach. An average ticket seems to be £120 up to £500 and more for VIP experiences. For a parent with children who loves bands it has to be a disappointing NO for many. Even a friend mentioned recently with no money issues, that as a family they could never justify spending £300 per ticket to go and watch Pink. YungBlud (artist) has jumped on this creating his own festival at cut price tickets. This isn’t just an issue for up and coming bands looking at venue and production costs. Amateur Theatre groups wanting to hire out local theatres are charged extortionate rates of hire, then a charge for every aspect of every piece of equipment they use, percentage of ticket sales to venue and on top a cut on the merch. It all seems so so wrong when everyone should be looking at sharing the ability to make money. It all needs looking at. It is actually cheaper these days to watch a tribute band than the actual original artist. Nothing wrong with Tribute Bands - there is incredible talent out there but is this the only way we are going get to watch bands perform? It’s almost like access to big acts in music is becoming elite - if you can afford it, fine, but if you can’t you can listen to it online on platforms that don’t pay the artists decent revenues either. As someone who works with music schools watching new talents coming through for those that are serious enough to want careers in the industry, how can we encourage them to make music and then tell these youngsters making money is hard to do, in an industry where commercial radio only plays famous artists songs, festival scene is so hard to get into, so get two or three jobs to be able to survive and pay your bills, limiting time to be creative. It all seems so wrong and backward. Thoughts?

Check out this article on Dominique and his artist

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.

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A great article by Phil Brown (In Review) ahead of our concerts Camerata & Alex Raineri: Beethoven this week!

• How is Salem not already in bankruptcy. • Their humiliating station giveaways to of all competitors EMF. • EMF’s unique pricing formula that forced Salem to say “uncle” and sell. • Who is the next EMF, a ready and willing buyer of radio stations. • The new tactic Salem and others are using to buy time. https://lnkd.in/eiajE99D