Podcasts about media research

Keith Friedenberg serves as Chief Analytics & Insights Officer of Endeavor Group Holdings, Inc. which owns and operates Ultimate Fighting Championship (UFC), World Wrestling Entertainment (WWE), William Morris Endeavor (WME), IMG, 160over90, On Location, and OpenBet/IMG Arena. Keith is founder of Endeavor Analytics, LLC, a global knowledge and insights company that provides strategic consulting, media intelligence, valuation services, and consumer insights. Endeavor Analytics boasts a global team of 80 who leverage AI & machine learning and third-party data providers to inform decision-making across media & sports properties, talent & athletes, and Fortune 500 brands. Prior to joining Endeavor in 2008, Friedenberg spent eleven years with Warner Bros. Media Research & Insights, where he supervised consumer, media and brand research operations for divisions including domestic television distribution, gaming, consumer products and emerging technology. Keith is an alumnus of the Marshall School of Business, University of Southern California.

Today marks the launch of something truly revolutionary: our first podcast episode powered by AI research assistant. Meet ADAM – not just a tool, but a virtual team member. ADAM is our in-house AI research assistant, built to support, analyze, and contribute real-time insights on complex topics, starting with today's focus: AI in Finance – Trusting the Black Box. This is more than just automation. For the first time, an AI is stepping into a dedicated virtual role within our organization, participating actively in content creation, offering synthesized research, and sparking new conversations on the future of intelligent finance. In this premiere episode, ADAM will break down key financial AI trends, explore how machine learning is reshaping the industry, and ask the big question: Can we trust the decisions made by systems we can't fully explain? Buckle up; this is the future of work, and the future is speaking.Let's get started. Rudy Shoushany | Founder #DxTalks Digital transformation Talks and Podcast

Send us a textIn this episode, we interview Justin  Ruiss, Senior Vice President of Media Research at BWG Strategy.What you'll learn in this episode:Why community management is crucial for 2025 and beyondHow platforms like Reddit and Discord shape audience engagementStrategies for brands to effectively engage and listen to communitiesThe power of niche audiences and their impact on brand loyaltyBalancing owned communities versus participating in existing onesBest practices for driving conversions through community insights

As the United States was absent from a collective pledge to drive inclusive AI development at the Artificial Intelligence Action Summit in Paris, France, the China-proposed Global AI Governance Initiative, put forward by President Xi Jinping in 2023, has greater relevance to promoting AI growth for good and for all, according to analysts.分析人士认为，由于美国缺席法国巴黎人工智能行动峰会并拒签推动包容性人工智能发展的集体宣言，中国国家主席习近平于2023年提出的《全球人工智能治理倡议》对于促进人工智能向善发展、普惠发展具有更加重要的意义。Fifty-eight countries including China and two international organizations—the 27-member European Union and the 55-member African Union—signed the Statement on Inclusive and Sustainable Artificial Intelligence for People and the Planet at the summit, co-chaired by France and India from Monday to Tuesday.本次峰会（2月9日-10日）由法国和印度联合主办，包括中国在内的58个国家和欧盟（27个成员国）、非洲联盟（55个成员国）两大国际组织共同签署了《关于发展包容、可持续的人工智能造福人类与地球的声明》。The US refused to sign the international document, with Vice-President JD Vance making it clear at the summit that Washington maintains an "America first" approach in AI development.美国拒绝签署这份国际文件，副总统JD·万斯在峰会上明确表示，美国在人工智能发展方面坚持“美国优先”的做法。Vance said that the US administration will ensure that "American AI technology continues to be the gold standard worldwide", while access to that technology will not be open to all, according to media reports.据媒体报道，万斯表示美国政府将确保“美国人工智能技术继续成为全球黄金标准”，而这种技术的获取并不会向所有人开放。Addressing the summit in the capacity of President Xi's special representative, Vice-Premier Zhang Guoqing reiterated China's commitment to working with other countries to promote development, safeguard security, share achievements in the AI field, and jointly build a community with a shared future for mankind.作为习近平主席特别代表出席峰会的中国国务院副总理张国清重申，中国愿在人工智能领域与各国共推发展、共护安全、共享成果，共同构建人类命运共同体。In facing the opportunities and challenges brought about by the development of AI, Zhang called on the international community to jointly advocate the principle of developing AI for good and to deepen innovative cooperation, strengthen inclusiveness and universal benefits, and improve global governance.张国清表示，面对人工智能发展的机遇和挑战，国际社会应携起手来，倡导智能向善，深化创新合作，加强包容普惠，完善全球治理。Zhang's attendance at the Paris summit is widely considered as China's active implementation of the Global AI Governance Initiative. Foreign Ministry spokesman Guo Jiakun said on Wednesday that China's signing of the outcome document at the summit demonstrates its commitment to promoting global AI development and governance in an active manner.张国清出席巴黎峰会，被广泛视为中国积极落实《全球人工智能治理倡议》的行动。2月12日，外交部发言人郭嘉昆表示，中国签署峰会成果文件，表明中国致力于推动全球人工智能发展和治理的积极态度。"China will continue to uphold the principle of extensive consultation and joint contribution with benefits shared by all, strengthen exchanges and cooperation with all parties, and promote artificial intelligence to better serve global development and enhance the wellbeing of humanity," Guo said at a regular news conference.郭嘉昆在例行记者会上表示，“中国将继续秉持共商共建共享理念，同各方加强交流合作，推动人工智能更好服务全球发展、增进人类福祉。”The Global AI Governance Initiative called on countries to work together to prevent risks and develop AI governance frameworks, norms and standards based on broad consensus, in order to make AI technologies more secure, reliable, controllable and equitable.《全球人工智能治理倡议》呼吁各国携手合作，共同做好风险防范，形成具有广泛共识的人工智能治理框架和标准规范，不断提升人工智能技术的安全性、可靠性、可控性、公平性。On July 1 last year, the 78th United Nations General Assembly adopted a China-led resolution on enhancing international AI cooperation, with over 140 countries supporting it. This resolution, which was the UN's first on international cooperation for AI capacity building, fully embodies the core principles of the Global AI Governance Initiative, and aligns with the high expectations of numerous UN member states, particularly developing countries.2024年7月1日，第78届联合国大会通过了一项由中国主提的加强人工智能能力建设国际合作决议，得到了140多个国家的支持。该决议作为联合国首份关于人工智能能力建设国际合作的决议，充分反映了《全球人工智能治理倡议》的核心要义，顺应了广大联合国会员国特别是发展中国家的热切期待。Yasir Habib Khan, president of the Institute of International Relations and Media Research in Pakistan, said that in the fast-evolving AI economy, China has emerged as a key player, offering great opportunities for developing nations, especially the Global South, to help them keep pace with global technological progress.巴基斯坦国际关系与媒体研究所所长亚希尔·哈比卜·汗表示，在快速发展的人工智能经济中，中国已成为关键参与者，为发展中国家特别是“全球南方”国家提供了巨大机遇，帮助他们跟上全球技术进步的步伐。Through international cooperation mechanisms, such as the UN and the digital Silk Road initiative, China advocates AI policies that reflect the interests of developing nations, Khan said, adding that its emphasis on national sovereignty in AI governance ensures that emerging economies maintain control over their data and technological resources.他表示，中国通过联合国和“数字丝绸之路”倡议等国际合作机制，倡导有利于发展中国家的人工智能政策，强调在人工智能治理中维护国家主权，保障新兴经济体对数据和技术资源的自主掌控。The Paris summit, gathering heads of state and government, leaders of international organizations, business executives and tech experts, took place as Chinese AI company DeepSeek surprised the global AI landscape.此次巴黎峰会汇聚多国国家元首、政府首脑以及国际组织负责人、企业高管和技术专家，期间中国人工智能企业DeepSeek惊艳全球AI领域。DeepSeek, which built its open-source AI model at a fraction of the cost of building similar large language models and with fewer chips, has reduced financial barriers for global AI participation and promoted a more level playing field through technological advancements.DeepSeek以更低的成本和更少的芯片构建开源AI模型，降低了全球参与人工智能的成本门槛，并通过技术进步促进了更加公平的竞争环境。Andy Mok, a senior research fellow at the Center for China and Globalization, said that DeepSeek exemplifies China's broader vision to provide global public goods—a model that reimagines technology as a universal resource for the benefit of all.中国与全球化智库高级研究员安迪·莫克表示，DeepSeek体现了中国在提供全球公共产品方面更为广阔的愿景——这是一种将技术重构为普遍资源并惠及所有人的模式。The Chinese company's success exposes the fragility of the narrative that only the US model, with its emphasis on individualism and laissez-faire economics, can foster progress, Mok said in an opinion piece published on the website of the China Global Television Network.莫克在中国国际电视台网站上发表的一篇评论文章中表示，这家中国企业的成功，打破了只有强调个人主义和自由放任经济的美国模式才能推动进步的叙事，暴露出这一叙事的脆弱性。While hailing China's progress in AI development and its initiative for global AI governance, global leaders attending the Paris summit underlined the need for international cooperation on AI development.在巴黎峰会上，各国领导人赞扬了中国在人工智能发展方面取得的进步及其对全球人工智能治理的倡议，同时也强调了人工智能发展领域国际合作的重要性。UN Secretary-General Antonio Guterres warned that the growing concentration of AI capabilities risks deepening geopolitical divides, adding that "while some companies and countries are racing ahead with record investments, most developing nations find themselves left out in the cold".联合国秘书长古特雷斯警告说，人工智能能力日益集中，可能会加剧全球地缘政治分歧。他补充说，“一些公司和国家正以创纪录的投资额迅速前进，而大多数发展中国家却被甩在后面”。"We must prevent a world of AI 'haves' and 'have-nots'. We must all work together so that AI can bridge the gap between developed and developing countries—not widen it," he said.他表示，“我们必须防止出现人工智能‘有'和‘无'的两极世界。我们必须共同努力，确保人工智能能够弥合而非扩大发达国家与发展中国家之间的差距”。laissez-fairen.置之不理，放任自流

Madeleine and Macca talk to DR. Sora Park, University of Canberra, Media Research Centre;   New research reveals 97 percent of adult Australians have poor or limited ability to verify... LEARN MORE The post Saturday, 7th, December, 2024, Are Australian Adults Online Media Literate? DR. Sora Park, University of Canberra, Media Research Centre appeared first on Saturday Magazine.

There's been a renewed flurry of media coverage lately around the legal gambling industry in the true north, strong and free, including: · An editorial by The Globe and Mail calling on the Justin Trudeau government to pass Bill S-269 before our elected federal officials head home for the holidays:· An interview by Matt Galloway of CBC's The Current with a problem gambler in the aftermath of a study released by the Lancet Public Health Commission on gambling;· A St. Albert Gazette piece on the relationship between igaming, advertising and problem gambling;· And just yesterday, this “Is the $11 billion online sportsbook bubble about to burst?” tome from the keyboard of David Hill for Rolling Stone. At the same time, the Canadian Gaming Association just made public research it commissioned North American advertising intelligence company MediaRadar to conduct on advertising by operators in Ontario's regulated market. The research shows a decrease in the amount of advertising spend by operators of online sports betting and gaming products since the province's market opened its doors in April 2022.Paul Burns, the CGA's president and CEO, returned to the Gaming News Canada Show to discuss the latest research, and also respond to the latest coverage by the Globe and CBC (the CGA also posted a response on LinkedIn to the Globe editorial). Burns also addressed the efforts the industry have made around responsible gambling while yet again emphasizing the operators' multi-layered actions to keep children from accessing their products. He also spoke about the challenges in front of advocates of Bill S-269 to have a national framework for sports betting advertising to take effect. He also spoke about the recent Royal Assent given by the Douglas Ford government to the iGaming Ontario Act, which will separate iGO from the Alcohol and Gaming Commission of Ontario. We also asked Burns for his thoughts on what background and skill set the iGO board of directors and its recruiting firm should be seeking in the president and CEO who will replace Martha Otton when the woman responsible for leading the charge to opening the Ontario market in the spring of 2022 retires at year's end. Hosted on Acast. See acast.com/privacy for more information.

Right About Now with Ryan AlfordJoin media personality and marketing expert Ryan Alford as he dives into dynamic conversations with top entrepreneurs, marketers, and influencers. "Right About Now" brings you actionable insights on business, marketing, and personal branding, helping you stay ahead in today's fast-paced digital world. Whether it's exploring how character and charisma can make millions or unveiling the strategies behind viral success, Ryan delivers a fresh perspective with every episode. Perfect for anyone looking to elevate their business game and unlock their full potential.Resources:Right About Now NewsletterFree Podcast Monetization CourseJoin The NetworkFollow Us On InstagramSubscribe To Our Youtube ChannelVibe Science MediaIn this episode of Right About Now, host Ryan Alford sits down with Tom Webster, co-founder of Sounds Profitable and author of The Audience is Listening, for an in-depth exploration of the podcasting industry's evolution and strategies for success. Together, they unpack how to understand and connect deeply with your target audience, emphasizing that knowing your "ideal listener" can be just as crucial as producing high-quality content.Tom shares his expertise on common missteps in podcasting, advising creators to focus on authentic engagement rather than simply chasing metrics. He also sheds light on the current state of the podcasting world, dispelling myths about its supposed decline and stressing the value of honest feedback, consistent roles among show hosts, and a content-first approach. Whether you're a new podcaster or a seasoned pro, this episode is packed with actionable advice to help you grow your podcast with purpose and impact.TAKEAWAYSImportance of understanding the target audience in podcasting.Strategies for defining and conceptualizing the ideal listener.The current state and growth of the podcasting industry.Debunking myths about the decline of podcasting.The significance of content quality in attracting and retaining listeners.The role of marketing in podcasting and its relationship to content quality.The value of direct conversations with listeners for gathering insights.The concept of "roles and goals" for participants in a podcast.The need for honest feedback and constructive criticism from the audience.Creating an engaging and entertaining experience for listeners beyond mere information dissemination. If you enjoyed this episode and want to learn more, join Ryan's newsletter https://ryanalford.com/newsletter/ to get Ferrari level advice daily for FREE. Learn how to build a 7 figure business from your personal brand by signing up for a FREE introduction to personal branding https://ryanalford.com/personalbranding. Learn more by visiting our website at www.ryanisright.comSubscribe to our YouTube channel www.youtube.com/@RightAboutNowwithRyanAlford.

There's so much research swirling around! From substance use to gaming to porn, the overwhelming number of studies can make raising kids feel overwhelming. Dr. Yalda Uhls founded The Center for Scholars and Storytellers to help make sense of all of this data by bridging the gap between families and tech companies, content creators, and studios. Show Notes: Join our LESS AWKWARD MEMBERSHIP  Get 10 FREE meals at HelloFresh.com/FREEAWKWARD Go to Quince.com/awkward for free shipping and 365-day returns Get 25% off your first order of Phyla, when you visit PhylaBiotics.com and use the code PUBERTY at checkout! Center for Scholars and Storytellers Media Moms and Digital Dads: A Fact Not Fear Approach to Parenting in the Digital Age  Order our book This Is So Awkward Check out all our speaking and curriculum at www.lessawkward.com and our super comfy products at www.myoomla.com To bring us to your school or community email operations@lessawkward.com To submit listener questions email podcast@lessawkward.com Watch the full episode on Youtube! Produced by Peoples Media Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Talk World Radio we're talking about peace activism in Romania and worldwide with Maria Cernat who is the co-organizer and co-founder of World BEYOND War Romania, a chapter of World BEYOND War of which I'm the executive director. Maria Cernat is also the host of a new podcast called Pacifist Barricades. She is also an Associate Professor of Communication and Public Relations, and President of the Institute for Media Research and Human Rights, and lecturer at the Faculty of Communication Sciences and International Relations at Titu Maiorescu University. She is a member of the editorial board of the Journal for Politics and Law published by the Canadian Center for Higher Education. World BEYOBND War: https://worldbeyondwar.org World BEYOND War Romania: https://worldbeyondwar.org/romania Pacifist Barricades Podcast: https://worldbeyondwar.org/category/podcasts/pacifist-barricade

In our latest podcast episode, Telly's Managing Director Amanda Needham sits down with Gavin Bridge, operator and Chief Analyst of the Substack The FASTMaster and former VP of Media Research at CRG Global. The FASTMaster is a monthly newsletter full of the latest news and analysis of FAST– free, ad-supported streaming TV. If you have any doubts about how well-regarded The FASTMaster newsletter is in the industry, know this: shortly after recording this conversation, Gavin was hired as the Creative Lead, 1P/Exclusive FAST at Prime Video & Amazon MGM Studios. Listen as Gavin provides his expert analysis on the FAST channel model, and how small creators can create their own streaming channels for their work. Hosted on Acast. See acast.com/privacy for more information.

To coincide with National Play Day, which runs from July 13 -21, with the theme, 'Time to Play', Virgin Media, in partnership with Ipsos B&A, has commissioned research to highlight the crucial role of play in enhancing well-being and overall quality of life. The research reveals alarming statistics such as three in five young people are experiencing burnout, with those under 35 significantly more affected (61%) compared to older generations (12%). The study also found that young people are less satisfied with their quality of life, with around 59% of young adults being overall satisfied with the quality of life compared to 80% of those over 65. Despite these challenges, an overwhelming 86% of young people want to incorporate more play into their lives. Also surprisingly was the finding that 57% of respondents agree that play is more important than financial success. The research underscores the serious barriers to play, including time commitments, not having the required energy or head space, the cost-of-living crisis, and loneliness. As a result, 65% of respondents feel that the government should do more to encourage play, while 63% believe brands have a role to play. The findings reveal that 38% of young adults believe Irish people are too serious for play, compared to only 20% of those over 65. It also found that 56% of 25-34 year olds think other countries engage in more play than Ireland does. This sentiment underscores the need for societal change in attitudes towards play, with 65% advocating for government action and nearly half supporting the idea of a national play day for adults and children. As summer is upon us, 39% of Irish adults expressed a desire to go on holiday more frequently, specifically to engage in play. With 87% agreeing that play improves quality of life, the call for accessible and affordable play activities is louder than ever. Richard Hogan of TherapyInstitute.ie highlights the importance of play: "Play is not a frivolous activity, it's a fundamental component of our lives. From online virtual reality adventures to real life play and connection, play increases brain functions, decreased stress and improves wellbeing overall. Play is not just for children, it's for all of us at all stages in life." Paul Higgins, VP of Commercial at Virgin Media, said: "Virgin Media believes in the power of Play and this survey underlines the role our products and services have in providing connection, learning and entertainment - all key to play. With those products and services being used more and more we continue to enable digital play as our homes have become our offices, gyms, gaming hubs and cinemas. "With Virgin Media bringing Ireland's best broadband to more areas nationwide it allows more customers to escape into a world of play, and this increased usage and in home experience can empower our customers to unleash their play, in whatever way they choose." See more stories here. More about Irish Tech News Irish Tech News are Ireland's No. 1 Online Tech Publication and often Ireland's No.1 Tech Podcast too. You can find hundreds of fantastic previous episodes and subscribe using whatever platform you like via our Anchor.fm page here: https://anchor.fm/irish-tech-news If you'd like to be featured in an upcoming Podcast email us at Simon@IrishTechNews.ie now to discuss. Irish Tech News have a range of services available to help promote your business. Why not drop us a line at Info@IrishTechNews.ie now to find out more about how we can help you reach our audience. You can also find and follow us on Twitter, LinkedIn, Facebook, Instagram, TikTok and Snapchat.

A group of Israel-based researchers is currently studying how leading international media outlets are reporting on civilian deaths in Gaza and how they are referencing the statistics they use. Sociologist Tatiana Glezer told SBS Russian about the results of the pilot stage of the project and explained the reasons behind the group's decision to start it. - Группа исследователей из Израиля проводят исследование работы ряда международных СМИ и, в частности, того, как они освещают войну Израиля против Хамас. Социолог Татьяна Глезер рассказала SBS Russian о результатах пилотного этапа и том, почему, по ее мнению, этот проект важен.

Il diplomatico palestinese Osama Al-Ali vuole che Hamas termini la guerra

We had the privilege of speaking with Jamil Fiorino-Habib  after hearing their talk at a Palestinian solidarity event hosted by RAFI (Raising Awareness and Funds Initiative) in Amsterdam on November 19th. We explore themes of pink-washing and homonationalism in relation to the ongoing humanitarian crisis in Palestine.  Jamil provides an incredibly incisive, sensitive, personal, political and nuanced perspective on the way traditional media continues to be used to dispossess and dehumanize Palestinians, as well as the current ways in which social media platforms are being used to disseminate images and information. This is an incredibly urgent topic and an episode we highly recommend taking the time to listen to.  We encourage you to continue to educate yourself, listen, take action and demand human rights for those who have been stripped of them. Jamil is a lecturer in the Media & Culture BA program at University of Amsterdam, teaching courses on topics such as Media Aesthetics, Film Analysis, Philosophy of the Humanities, and Media Research. "RAFI (Raising Awareness and Funds Initiative) is an Amsterdam founded initiative that aims to raise awareness and funds in support of and in solidarity with dire global political currents. We aim to respond to different (yet intersecting) forms of oppression regionally and globally through local collectivization and collaboration...RAFI follows the initiative of radically deconstructing our thought patterns and putting our collaborative efforts to use for those politically oppressed."Cover image credit: Jamil Fiorino-HabibTo stay up to date with MFMM follow us on instagram @multifemalemegamixTo buy our merch DM us on insta xxxIntro track by Whiterose Don't Go We'll Fund Them is a trans-led subscription-based fundraiser to support trans people in the Netherlands.Subscribe here or follow them on instagram.

La Russia sempre più vicina all'Iran per opporsi all'Occidente di cui Israele è parte integrante

Workers have begun to return to the office in waves, at least for part of the week, and navigating that transition is an ongoing and significant hurdle for employers and workers alike. And many simply cannot fathom a return to the pre-COVID status quo, changing how companies approach their staffing needs. Retaining employees who don't want to work in person is an issue for companies, but relatively few employers (13%) have introduced new incentives that would make employees more satisfied with it, according to a newly released poll conducted by the National Opinion Research Center (NORC) at the University of Chicago. “Once workers discovered that (remote work could be) less expensive and... make their life a little easier, they just wanted to keep doing it, even once the pandemic began fading away,” Marjorie Connelly, a senior fellow with NORC's Public Affairs & Media Research department, told The Associated Press. In both the HR survey and a separate poll of U.S. adults, researchers found that the top factors behind employees' desire to work from home include their prioritization of flexibility and work-life balance. Other HR representatives and employees who work from home cite the length and costs of commuting as key. There are some initiatives that could incentivize more employees to work in person—or at least increase their satisfaction about already going into the office—the poll shows. Most hybrid workers (55%) say paying employees more for their in-office work would provide “a lot” of encouragement for them to work in person more often. Additional pay topped the list across respondents whether they were working in-person, remotely (44%), or in hybrid (50%) roles. However, just 4% of HR representatives whose companies have introduced new policies to get employees back to the workplace say that higher compensation is among them. Employees who are already going into the office—either entirely or part-time—indicated that other incentives such as commuter benefits, in-office childcare, free food, and social gatherings could also add at least “some” more satisfaction with returning to the office. This article was provided by The Associated Press.

Il movimento di Hamas ha annunciato la creazione di una nuova organizzazione in Libano chiamata Vanguards of the Al-Aqsa Flood

This special episode features a conversation with three leaders in this space exploring the future of the greenlight process in film: Anjali Midha is the Former Head of Entertainment at Twitter and the Founder and CEO of the entertainment analytics platform Diesel Labs. Irina Albita, co-founder and co-CEO of FilmChain, the blockchain based platform revolutionising the collection of revenues in film and TV. Ted Hope is the producer of over 70 feature films, the former Head of Production at Amazon Studios and author of the book Hope for Film and blog of the same name. In an increasingly competitive and congested distribution marketplace, better and more informed decision making upstream is increasingly essential. Is there a better way? How can we support intuitive creativity with robust data analytics, audience insights and distribution intelligence? What are the tools, resources and information that can underpin more effective commissioning or investment decisions? Where are the information blindspots and how can filmmakers formulate a more robust investment opportunity? How can we create more inclusiveness in the greenlight process? More about our speakers Ted Hope has been a producer on over 70 films, studio executive on over 60, CEO of a start-up streamer, co-head of 3 production companies, executive director of a film society & festival, a Professor Of Practice at 2 universities, and founder of a post-production facility, 2 websites, 2 think tanks, & an app. Ted launched Amazon's foray into feature film production, leading them to 19 Oscar nominations and 5 wins. As a producer, his films have received 25 Oscar nominations, with 6 wins. Ted's memoir and newsletter Hope For Film, are both must reads. Ted helped launch the feature film careers of Ang Lee, Nicole Holofcener, Hal Hartley, Michel Gondry and many others. His most recent films include the first narrative from Oscar-winning documentary director, Roger Ross Williams, Cassandro, as well as the documentary Invisible Nation on Taiwan, directed and produced by Vanessa Hope. Anjali Midha, an entrepreneur with a passion for driving innovation in media and marketing analytics. She is the co-founder & CEO of Diesel Labs, a content analytics company that addresses the toughest questions facing media companies today. Before starting Diesel Labs, she was the Global Director of Media Research at Twitter where she developed the ‘playbook' for television - illuminating the synergies and opportunities across traditional and new media. She joined Twitter via their acquisition of Bluefin Labs (the pioneer of Social TV Analytics), prior to which she was the VP of Strategy & Analytics at Digitas. Anjali holds a BA in Economics from Tufts University and an MBA from MIT Sloan Irina Albita is a technologist with over 12 years experience in the London/NYC tech scene, with a mathematics-economics background. Her passion is exploring how emerging tech radically transforms creative industries, and she is a prominent figure at film & tech events worldwide. She co-founded FilmChain alongside Maria Tanjala. The platform is transforming how producers, financiers, and sales agents get paid. With a digital collection account management (CAM) for indie films and a royalties management solution for content distributors, FilmChain brings transparency to payments and modernises royalties. Former EFM Startups 2018, they have won awards such as ‘Startup of the Year' London Business Awards 2020, Startup Challenge at San Sebastian Film Festival 2020, Makers and Shakers 2020, and Unchain Fintech Festival 2022, to name a few. This episode is presented in partnership with Screenovators, the online community dedicated to innovation in the screen industries. For more information and to join: www.screenoavtors.com

La tesi del direttore Ahmed Al-Jarallah del noto quotidiano kuwaitiano “Al-Siyassa”: Hamas sta derubando i palestinesi

In an increasingly competitive and congested distribution marketplace, better and more informed decision making upstream is increasingly essential. However, formulaic and algorithmically influenced content continues to enter the system, often leaving audiences cold. Is there a better way? How can we support intuitive creativity with robust data analytics, audience insights and distribution intelligence? What are the tools, resources and information that can underpin more effective commissioning or investment decisions? Where are the information blindspots and how can filmmakers formulate a more robust investment opportunity? How can we create more inclusiveness in the greenlight process? These are some of the questions explored with 3 leaders in their field across film, data and technology featuring legendary producer Ted Hope, Co Founder and Co-CEO of Film Chain, Irina Albita and Anjali Midha, Founder and CEO of Diesel Labs.  Ted Hope has been a producer on over 70 films, studio executive on over 60, CEO of a start-up streamer, co-head of 3 production companies, executive director of a film society & festival, a Professor Of Practice at 2 universities, and founder of a post-production facility, 2 websites, 2 think tanks, & an app. Ted launched Amazon's foray into feature film production, leading them to 19 Oscar nominations and 5 wins. As a producer, his films have received 25 Oscar nominations, with 6 wins. Ted's memoir and newsletter Hope For Film, are both must reads. Ted helped launch the feature film careers of Ang Lee, Nicole Holofcener, Hal Hartley, Michel Gondry and many others. His most recent films include the first narrative from Oscar-winning documentary director, Roger Ross Williams, Cassandro, as well as the documentary Invisible Nation on Taiwan, directed and produced by Vanessa Hope. Irina Albita is a technologist with over 12 years experience in the London/NYC tech scene, with a mathematics-economics background. Her passion is exploring how emerging tech radically transforms creative industries, and she is a prominent figure at film & tech events worldwide. She co-founded FilmChain alongside Maria Tanjala. The platform is transforming how producers, financiers, and sales agents get paid. With a digital collection account management (CAM) for indie films and a royalties management solution for content distributors, FilmChain brings transparency to payments and modernises royalties. Former EFM Startups 2018, they have won awards such as ‘Startup of the Year' London Business Awards 2020, Startup Challenge at San Sebastian Film Festival 2020, Makers and Shakers 2020, and Unchain Fintech Festival 2022, to name a few. Anjali Midha is an entrepreneur with a passion for driving innovation in media and marketing analytics. She is the co-founder & CEO of Diesel Labs, a content analytics company that addresses the toughest questions facing media companies today. Before starting Diesel Labs, she was the Global Director of Media Research at Twitter where she developed the ‘playbook' for television - illuminating the synergies and opportunities across traditional and new media. She joined Twitter via their acquisition of Bluefin Labs (the pioneer of Social TV Analytics), prior to which she was the VP of Strategy & Analytics at Digitas. Anjali holds a BA in Economics from Tufts University and an MBA from MIT Sloan This session is part of the Reimagining the Ecosystem Series presented by usheru and Screenovators: a series of talks featuring industry pioneers, trailblazers and thought leaders exploring whether it is time to reimagine the film ecosystem?

Employee Motivation and Commitment is the lowest since June 2022, according to recent data from the ADP Research Institute. Why are employees feeling less motivated right now and what can be done about it? Join “Can You Hear Me?” co-hosts Eileen Rochford and Rob Johnson as they welcome special guest Mark Heisten,  a brand strategy and enterprise storytelling expert who will answer the question “What do we do about disengaged workers?”Meet our GuestMark Heisten - Leadership LegendMark Heisten more than 25 years of experience in marketing, sales, and business development in global financial services brands and emerging growth start-ups. During his career, he cultivated a reputation as a brand and communications innovator and change agent, focusing on improvements in people, process, and measurement to increase the value of the companies and teams he's led.Mark is currently an brand strategy and strategic communication instructor at the University of Colorado – Boulder and a founder of an executive storybuilding start-up Leadership Legend, which works with executives and rising leaders to craft reputation-building stories.Prior to CU-Boulder and Leadership Legend, Mark served as Chief Revenue Officer (CRO) at a FinTech start-up in San Francisco. Prior to that he was the Vice President/Head of Integrated Payments at Worldpay, a leading global payments technology company. There, he transformed the orientation of the team from work-product to work-results – data-driven and outcomes-focused. Mark oversaw the sales and marketing integration of the company's $425mm acquisition of Moneris US, and shaped the new global business strategy resulting from the $10B acquisition of Worldpay Plc.Mark served as the vice president of business development and a member of the executive team at Vanguard Cleaning Systems, a North American franchise system with more than 3,500 franchisees. During his tenure, he drove an overall increase in sales conversion rates, expanded the global footprint of the brand, and earned placement of the brand in the top 10 in the Franchise 500. Additionally, Mark implemented the company's marketing automation and Net Promoter Score (NPS) programs, which increased lead flow and retained existing clients more effectively.Prior to Vanguard Cleaning Systems, Mark was the head of commercial product marketing at Visa during the company's $18B IPO and was the Head of Account Management & Strategy at Nimblefish Technologies, a SaaS-based marketing automation start-up with clients including Apple, Adobe, Microsoft, Royal Caribbean Cruise Lines, FedEx, Lowe's Home Improvement and the U.S. Army among many others.Mark also worked at several start-ups and integrated marketing communication agencies. His programs earned numerous awards from the PRSA and DMA including a Silver Anvil of Excellence award and ECHO Diamond awards. Mark has worked with numerous clients including: American Express, Apple, AT&T, Adobe Systems, Business Objects, Capgemini, Chicago Bulls, Chicago White Sox, FedExKinkos, Holiday Inn, HP, IBM, IMD, Intuit, Lowe's Home Improvement, MasterCard, Microsoft, Midas, Owens Corning, Ralston-Purina, Vantiv, Visa and Worldpay.Mark earned his BA in English from the University of Missouri, his MBA from Santa Clara University's Leavey School of Business, and is currently finishing his Ph.D. Media Research and Practice from the University of Colorado-Boulder. His research focus is on ethics, leadership, and socio-political engagement by corporations.Mark adheres to the belief that great people make great cultures, and great cultures build valuable brands.

Per oltre un decennio il primo ministro israeliano Benjamin Netanyahu ha collaborato con il Qatar, che ha fornito 1,5 miliardi di dollari ad Hamas a Gaza. Questi soldi non sono serviti a sviluppare la Striscia di Gaza (che sarebbe potuta diventare una nuova Singapore) ma a costruire un esercito di 30mila militanti e un enorme arsenale missilistico, ricco di armi e munizioni sufficienti per una guerra prolungata. Questi fondi hanno anche permesso ad Hamas di costruire una città sotterranea con decine di chilometri di tunnel, posti di comando e di battaglia e con un sistema di allarme rapido altamente tecnologico.Di Yigal Carmon, presidente del Middle East Media Research Institute ed ex consigliere per l'antiterrorismo di due primi ministri israeliani

In 2007, the world of fine cuisine forever changed its menu when Pixar Animation Studios and Walt Disney Pictures brought to life the animated feature "Ratatouille." The film follows the journey of rat protagonist Remy, who leaves the conventions of his family and hometown to satiate a “faim” for fine French cuisine. As Host Dr. Melinda Lewis discovers in conversation with Drexel alumnus and "Ratatouille" superfan Clayton Fosterweber, the animated classic speaks to all ages and has spawned a variety of fan theories, including Fosterweber's own interpretations around collectivism, queer identity, and a search to find meaning and companionship in the melting pot that is Paris. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded February 10, 2023 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Clayton Fosterweber (Alumnus, Drexel University; Former STAR Scholar, Office of Undergraduate Research & Enrichment Programs) Host and Producer: Melinda Lewis, PhD (Director of Strategy, Pennoni Honors College) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Associate Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Olivier Jacques Graphic Design: Felicia Wolfer Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. Copyright © 2023 Drexel University

Tony Uphoff has media instincts in his DNA -- as a child born into a media active family, Tony was destined to a world of publishing -- but at the helm of eWeek and InformationWeek and many other well known brands, and is not lending his experience and energy to Media/Research disruptor, @Acceleration Economy. Tony also led the turnaround and successful sale of Thomasnet.com to Xometry for $300M - just a blast to catch up with an alumni brother and someone I've always learned from and admired. 

Episode title: The State of the Middle-Class ArtistThe “middle class musician” is a popular talking point in the industry. Several platforms have been built to serve this group. But what exactly is a middle-class musician? How can they get ahead when the major companies are incentivized to support the superstars? How does the 1000 True Fans theory apple here? And which companies do a great job of serving them today? I talked to Tati Cirisano of MIDiA Research to break it all down. Here's everything we covered this episode:0:44 How much money does a middle-class musician take home?9:05 How the 1,000 True Fans theory works in the steaming era 16:06 Why platforms struggling to serve middle class 18:33 What fans actually want from artist-specific subscriptions 21:23 How touring is for the middle class artists23:21 Artists catalogs generating $20k+ from Spotify 26:25 Good data vs bad data28:49 MIDiA's Bandsintown return to live study34:39 Why Pandora struggled to serve the middle class 36:18 Is serving middle-class musicians a viable business model? 48:13 Will middle-class musicians have it easier in 20 years?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Tati Cirisano, @tatianacirisanoThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT [00:00:00] Tati Cirisano: If an artist is trying to sell them something for 300 just so that they make 50 or whatever it is that translates to the fan as them having to spend so much money just to prove that they're a fan of the artist.So we don't want to. harvest people's fandom, we want to cultivate it. And the current industry makes it hard to fulfill that promise.[00:00:17] Dan Runcie Audio Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:44] Dan Runcie Guest Intro: Today's episode is about the state of the middle class artists. It's a very different world than it was 20, 25 years ago. If you talk to artists back then, who are now frustrated with the current model, they'll tell you that the nineties and the eighties were a great time for middle class artists. You could sell a few tens of thousands of CDs per year.You could still bring home enough for you and your band and others to earn a living off of that. But those economics get a lot harder in the streaming era where you need millions of streams, if not more. Just to make that same revenue that you did 25 years ago. But because of the streaming era that we're in now, it's also opened up many more opportunities for different revenue streams, both in real life and through digital communities and online marketplaces and things like that.So with all of that change, all that dynamic. Where does that leave us? So for today's episode, I'm joined by Tati Sirisano. She's dug into this topic specifically with some of her work at Media Research and a lot of the analysis she's done on fandom. So where are we with middle class musicians? What does it mean to be a middle class musicians?And for all of the platforms out there that are aiming to serve middle class musicians, who's actually doing it well? Let's dive in.[00:02:00] Dan Runcie: Today's episode is all about the middle class musician. This is a group of artists that is often talked about in the industry from all of the companies, all of the services that are trying to help artists, but how many of them are actually serving artists and doing it in a meaningful way? And I'm here to talk about it with someone who's talked about and read about this topic herself, Tati Cirisano, welcome back to the pod.[00:02:26] Tati Cirisano: Thanks, Dan. I'm excited. I love a thorny topic and there are many thorns to this one. A lot of contradictions, a lot of really, I don't know, interesting viewpoints. So I'm excited to get into it. [00:02:39] Dan Runcie: So first let's define middle class musician. When you hear the term, when you use the term yourself. What are you referring to? How do you define that group?[00:02:49] Tati Cirisano: Yeah. Well, it's, funny because if you think about a middle class musician as someone who's earning a sustainable living wage from their music, there's very few artists as we know, that actually do that. Like some of the successful, you know, relatively well-known artists that we listen to might not even fit into that description.so I think it is, you know, a pretty small group. but that's what I would define it as, I guess if we're being technical about it, is it's someone who is able to actually, earn a full-time living from their music career. And, when we look at, you know, at media, we do a lot of creator surveys. and when we look at, you know, how many creators fit into that.when we did our last creator survey in the UK and the US, we got, about 19% of everyone who filled out. Our survey was actually doing it full time. That doesn't necessarily mean they're making a living wage, but that means that this is, you know, what they're doing for, you know, their main career and the average income was about $46, 000. So that's kind of what I see when I think of the term, I guess. [00:03:59] Dan Runcie: Yeah, I think the sweet spot. I've thought about that as the floor to 50, 000 that you are earning from your music related activities. And I say that specifically because I think this is where some of the difference of the term and its interpretation is for years, people used to look at that number specifically think about it in terms of what is derived specifically from your music revenue.You being able to sell CDs, sell physical albums. How much of it comes from there today? Obviously, the economics are flipped and it is. Quite challenging for artists, especially if you don't own the rights to your music to be able to earn that level of money stand alone from CD sales, unless you're complimenting it with another revenue source.So that's a bit that's why I mentioned music related things, because artists, at least now do make more from touring and we'll get into that a bit more. They also have merch and other things that they still did have in. The nineties and other eras before, but some of these things have expanded and there's now all of these digital, so you have the IRL experiences, the IRL experiences too, and if that can combine and you're making, let's say at least $50,000 in profit, I would say so take home expenses of, or take home revenue of what you actually have versus up to let's say $150,000.That's how I've defined middle class musician. If you're earning more than that, then you're definitely at that closer to that tip of the spear. I don't know if the numbers would exactly put you in, let's say the 1%. I think there might be even a little bit of gap below that, but that's how I've roughly looked at it.So even though I know that. Every year, Spotify has its breakdown on how many artists catalogs generate this certain amount. And the math there is roughly been okay. You can multiply that number by 4 and that can give you an idea of what the total recorded music revenue is. That's still only 1 source that doesn't include all the other sources that are there.So there's a bunch of ways. And I think a lot of people out there do feel like you should be able to be a middle class musician. If you're earning solely from the music recording itself, but I do like to think of it a bit more broadly and that's how I've defined it[00:06:19] Tati Cirisano: No, definitely. I realized that I answered that question thinking about it that way without even realizing it because it's so common now that I mean, I think earning a full time living from your music alone and not these other things, all these other things around it is nearly impossible for a lot of today's artists. And when we look at, you know, in the research. Most of these artists are learning from a really fragmented mix of income streams, right? There isn't just like one thing that is their main source of income. They tend to have a hand in all these different places from, education to sync to performing, producing for other artists and things like that.So we hear a lot. There's this need to kind of have all the wheels spinning all the time. And usually the sources of income that, are maybe more important are the ones that actually are not about your music itself. So that's a really good, that's a really important distinction to make for sure. [00:07:14] Dan Runcie: Because I think what you're calling out and it's true is that what people enjoyed about the CD era was that there was 1 item that you could purchase in that 10 to 20 dollar range and that benefited. Those artists who could then get at least, let's say, 4 to 5 for every 20 CD that's sold. They then keep that and then that you just do the math on that even if you're splitting that up amongst 4 band members, there's still a lot there and technology has this pattern of making it more advantageous for the people who are already on top, not necessarily the people that are trying to get there. And I think this is some of the challenges that certain startups in the space have had, because several of them have tried to serve this middle class audience with the belief that technology does connect us and technology does do all those things, but we've seen it more likely or not just the way that things have been set up so far and streaming, but also in other aspects of the creator economy and people making a living off of the internet, one way or another, it does tend to benefit those that do happen to be the most successful, so that's why I think you calling out the way things are, whether it's people selling merch or people selling vinyl or people selling unique items, or even back in the NFT phase where people were selling more of those is unique items or concert tickets more broadly that gets you back to the opportunity to compensate the quote unquote, middle class artists more because it's a fan having that 1 to 1 relationship where they're spending the high and they're spending their money on the high end product to get whatever it is in a way.That's very different from getting some pro rata distribution of their 1099 monthly subscription to 1 of the streaming services.[00:09:05] Tati Cirisano: Yeah, no, and I think in music, especially we've really seen this, like the thousand true fans theory, kind of gained popularity over the past year or two years and really have to run up against streaming economics where scale is the only thing that matters. So I think, you know, if you were selling CDs in the nineties and you had a really small, but dedicated fan base, you could earn money off of that.you could make a decent living off of that. but now there aren't that many ways to actually, monetize a core fan base around the music itself. I mean, you're not doing that on streaming. so I think, you know, streaming definitely delivered on the promise of. allowing more artists to be heard, but it the income side of that didn't really catch up by opening the door to everyone. It just gave way to so much oversaturation and so much fragmentation that, it kind of breaks the pro rata streaming model. [00:09:57] Dan Runcie: And I think that most people listening to this probably do generally understand why it's hard to do that with streaming. You literally need millions of streams per month in order to be able to reach those thresholds. And that's just very hard to do. However, if we also look at the platforms that are intended to be more creator friendly or more independent. Artist friendly or more middle class musician friendly, even those still struggle to hit those numbers. One of the highly publicized numbers from Patreon, of course, this is now looking at all creators, not necessarily musicians, but only 2% of the creators that use Patreon are earning more than 50, 000 annually from their Patreon. So again, just to make sure that we're covering all the bases, not all of the money that a middle class musician needs to make needs to come from Patreon in order to be a middle class musician. But it's another highlight where even though now we're taking away the streaming dynamic, you now have this product where most of the people are selling something on Patreon for one, five, 10 per month. It still doesn't quite. Offer that opportunity. So what do you think the disconnect is there? Because I know patrons 1 example, but there's other similar platforms that offer those types of things, but haven't quite been able to get [00:11:23] Tati Cirisano: Yeah. I mean, I think that it all kind of goes back to with all of these platforms that so long as streaming economics are only benefiting superstars. We can't really serve the middle class musician because even if those artists are earning a decent amount of money by, you know, making cameo videos for their fans or having some subscribers on Patreon, they're still forced to monetize everything around the music rather than the music itself.They still aren't really able to fully capitalize on monetizing core fandom. Even as it's been interesting, like even as the industry, I think, has really started to galvanize around this idea of monetizing fandom and how important it is, especially in how fragmented listenership is today to not just focus on building these mass passive audiences, but focus on a core fan base.but again, that's running up directly against streaming economics, which is part of the reason why there's now finally a call, I think, from all sides of the industry to change things. But I think that I really feel like the more I think about it, I just come back to that as long as the ways the solutions that we're giving to these so called middle class musicians are about monetizing things around their music, we're still never really realizing the full potential of what they could do by monetizing their fan base around the music.Maybe that's like a simplistic answer, but I just, I just keepcoming back to that.[00:12:50] Dan Runcie: Yeah. And I think 1 of the challenges with tools like Patreon and others is that. They're still similar to the streaming services selling a monthly subscription product and it's quite incentivized to be able to do that because they are SAS companies. They're trying to sell subscriptions companies that have strong MRR do get better valuations. And these are companies that are ultimately trying to exit. And we saw a company like Patreon, I believe the valuation hit 4 billion in the peak of the pandemic, just when everyone was going wild about the creator economy. And we've since seen that and many others come back down to earth.But the thing is a lot of those platforms it's based on that take rate and the take rate, even though I think the take rate for a platform like a Patreon may have been relatively low. It still incentivizes the power law to take over where those platforms are going to succeed based on having a few of those power users in that 2% that make up over 60, 70% of the revenue, if not more.And then you run into the same dynamic that you have on Spotify, where you see a similar dynamic there in terms of it's that small 1% of the people on top that make up everything. And whenever you have that type of dynamic, it's hard to shake that. And I think, especially given when you add on to it, any of these new platforms that do end up taking venture capital, there are incentives to have certain types of business models and certain types of approaches. So, I do think that that's an aspect. And then also just the fact that it is limiting itself to that 1 type of subscription that 1 time you're paying that artist or person on a regular basis and it's hard to do that compared to, let's say, the way it was when you're buying CDs, when you could go to Sam Gooding, you could buy 10 CDs if you want, you could buy one CD if you want, and I think that's where merch and vinyl and even platforms like Bandcamp and others get a bit more to that thing, where you're not limited on the quantity of how much you can buy from the thing, and it does allow a bit more of that individual transaction, which is what I think that Middle class musicians, artists really need in order to succeed. How can you make it infinite that someone can buy more of your stuff?[00:15:15] Tati Cirisano: Right, right. And I think in addition to all of this, there's just these like underlying dynamics of how fragmented the market is, how competitive, the entertainment landscape is, how, you know, streaming has sort of inadvertently encouraged listeners to be a bit more passive, I think, over the past 10 years.So we're now in this situation where even if you decide as an artist to, you know, build this core fan base and you have all the right tools to monetize it, it's still just really, really hard to break through and, gather, you know, enough people around your music and sustain their attention and get them to be active fans. Like I think, the competitiveness and the fragmented nature of the market is just underlying all of this. [00:16:05] Dan Runcie: So let's actually dig into that with the, Kevin Kelly's a thousand true fans theory that you mentioned. What do you think is the thing that's making that difficult? I know you mentioned the competitive piece, so maybe let's get into some of the specifics because in theory. If you were using a service like a Patreon or whatever, if you combine all of these things, can you have a thousand people paying you eight, nine dollars a month? And then that equals your a hundred thousand dollars like what is making that difficult? Like how big of an artist do you need to be for that to actually be a reality?[00:16:39] Tati Cirisano: Well, right. That's the thing is that there's just so much music out there and people are spreading their listening across more artists, more songs than ever. I think it's really hard to actually get a meaningful number of subscribers for something like that. And also people that are going to stick around. I think another thing with the subscription, like the artists for artists, specific subscriptions, the monthly cycle doesn't really align with the pace of consumption and fandom where, people are. I think it's natural that you're fandom of an artist rises and falls over time as you know, a new artist captures your attention or something else is happening in your life or whatever, but I think that pace is accelerating and it might happen in two weeks.Whereas it used to happen in two months or six months. So I just think it's, really hard to actually galvanize people around a monthly subscription, but something else that's interesting that actually comes from our recent research and we have a report coming out on this. soon. Is that when we ask people what they actually want from artist specific subscriptions, the things that come out on top are not what you expect and aren't what most artists are going for.So I think most artists have been doing, you know, behind the scenes content or I'll hop on and do a Q&A with you or you get access to a community of other fans and those things actually come out towards the bottom. What comes out on top is just exclusive access to music, being able to hear music that nobody else can hear or being able to hear it early and same thing for merchandise and same thing for tickets.So fans already have too much content out there that they have access to. They don't necessarily want to pay for more. And so instead, what they really want is just to get what they're already enjoying faster or before everyone else, or in a way that is exclusive to them. So yeah, I have a lot of thoughts as you can see on like subscriptions specifically. But I think that, you know. It's ironic because the thousand true fans theory model is what a lot of artists need these days because it is in some ways a way to cut through the fragmentation is building a core fan base, making really deep, long lasting connections. But it's also really just really hard to do that in today's landscape. [00:18:57] Dan Runcie: Why do you think there's a disconnect there? I mean, based on the insights that you're sharing, why couldn't an artist be like, okay, well, if that's what the fans want, then why not give them the exclusive access? Why are artists leading towards behind the scenes.[00:19:11] Tati Cirisano: Yeah. I mean, I think that I don't blame them because I think social media has kind of taught artists to just give more content all the time. And there's probably this assumption that that's what you need to capture attention. I think there's also a long history of streaming services and labels being uncomfortable with like exclusive content.I mean, I think that's why we're at a point these days where all streaming services have the same catalogs. So I think in the past, maybe it's been hard to justify that type of like, like windowing like remember when windowing kind of had a moment and then it went away. So I don't know, maybe it's time to reconsider that. And maybe the market would be a bit more open to that idea now. So artists, if you're listening to this try it out.[00:20:00] Dan Runcie: Right? Because you would like to think in theory that if an artist is independent, it's their choice on what they want to do independently versus not. But we also know it's very tough for an independent artist to even reach these levels to be able to get there, right? And I think this gives this is a good segue into another piece of the discussion, which is a lot of the music distribution services that have popped up and got in a lot more funding recently are specifically trying to be a alternative to the financing that record labels offer, whether you look at a company like a beet bread or into fire stem or United masters, these companies are offering advances in exchange for this. And sometimes the advances can start quite small, but still, at least on most of them, I think there's some minimum threshold you need on, let's say, a Spotify to have 10, 000 monthly listeners on the service, and even that, while it may not seem like a lot compared to the 1% of superstar artists, it still could be a lot, especially if you look at that compared to a lot of the artists that are these quote unquote, middle class artists that we're talking about. There's just such a divide where, because there's so much noise out there, you can feel like there is, it can be quite difficult to even take full advantage of those services because of the levels you need to be in order to get there. And I feel with that, it's probably a good chance for us to talk about touring because I think that's the other piece. We know that for a lot of artists now, let's say, whether it's, you know, depending on the artists, it could be, you know, as low as 30, but as high as 70% or even more of their revenue that comes directly from touring and especially since the economics of the current cycle that we're in have flipped where artists no longer, like, not everything is no longer the loss of leader in order to sell more CDs streaming. And other things are the thing that's done to sell more tour tickets. And that's essentially what we're getting back to you, right? How do you get fans to buy that 1 thing? But we're seeing that touring as well just like streaming, just like Patreon, just like any of these other things, even though they have a slightly different business model, it all becomes subject to the power law and how demand looks at it. Because you look at the superstars at the top level, we're talking about how Taylor Swift and maybe Beyonce are going to have the first billion dollar tours ever.And meanwhile, the artists that are in this quote, unquote, middle class artists bucket, many of them are struggling to sell out shows. Even the artists who are stars, but not quite superstars are canceling tours left and right. It's very tough to be able to do that. And that's another piece there because I feel like for years, that was always the retort you would hear. Well, they could make money on tour. Well, they could do this. Well, that's becoming a tougher thing for artists that aren't performing in front of thousands, several thousands of people on a regular basis.[00:22:56] Tati Cirisano: Yeah. I mean, they're struggling to sell out tours and they're also struggling to finance them to begin with. I mean, there've been so many artists that canceled before their tours even really got started selling tickets because they said, I crunched the numbers and I just can't afford this. So even if you are an artist that has demand for your shows, it can be really hard to, actually make touring sustainable for yourself.[00:23:21] Dan Runcie: Agreed, and maybe just to look at some rough numbers here, because I think it would be helpful. I pulled up, Spotify's loud and clear that they have their breakdown on the number of artists that are earning certain things and if we do some ballpark math here, so they said in 2022, there were 91, 000 artists that had catalogs that were generating at least 5, 000 dollars a year. And if you multiply that by 4, accounting for other streaming services, accounting for other recorded revenue streams, that then brings you to 20, 000 dollars. A few things to keep in mind, though, this doesn't include publishing. This doesn't include other things as well. That could also increase the revenue for artists, but it also is just about the artist catalog generated.So it doesn't Account for record label deals and things like that. So if we were to even take a number like this, and let's roughly call it 50%, even at that point, you combine that with the, let's say, they're making the equivalent on the live side, but on live. The percentage that the promoters and others that you're partnered with isn't nearly as high as it is on the recorded revenue side.So just to add some context for this. I mean, we're talking about less than 100, 000 people worldwide. And that number may even be generous there because there's this doesn't account like record label splits and all those things and so it's a tough world out there. [00:24:52] Tati Cirisano: Yeah. Wait. And can you back that up for so it's a 90, 000 are earning what? [00:24:58] Dan Runcie: Yeah, so according to Spotify's loud and clear report, 91, 200 artists, those are the number of recording artists whose catalogs generated recording and publishing royalties over 5, 000 alone on Spotify. Yeah, and then Spotify's ballpark is that if you multiply that number by 4, that gives you all of the revenue streams overall. So you could use that to say 20, 000.[00:25:25] Tati Cirisano: Right. Right. Yeah. No, and as we know, that does, like you said, it does gloss over a lot of nuances. So it's probably a little bit different and very different, in practice. But I think the other thing talking about touring. and the struggle of a lot of these, you know, middle class artists to sell shows is another unintended consequence of streaming is how song focused the music landscape we live in is now where a lot of artists will have a viral song or they'll have, you know, a popular song, but not that many people will actually discover the artists beyond that, or become a fan of their wider catalog to the point where they want to buy a ticket.And I think that that's what's driving a lot of these sort of awkward tour cancellations that we've seen where an artist may think, or their team may think, based on the success of a couple of songs, they have a big enough fan base to sell tour tickets, and they might not. So I think the metrics for touring are getting a lot murkier. [00:26:25] Dan Runcie: This is why what's happening right now with as it relates to socials, streaming and touring data, the more data has actually made people worse at the jobs, I think, to some extent. And I mean, I can't say that factually, I would need to look at some data to truly be able to prove that. But I do question whether or not it is helped in a lot of ways, Because of everyone is programmed to algorithms in the 3rd way.You could think that you're seeing someone everywhere. So let's just use I spice as an example. If you feel like, okay, in the circles of every time you open your phone, you see, I spice this, you see, I spice that you think that I spice could probably sell Madison square garden based on just what you may perceive to be people that are really in the industry.Probably know that that isn't the case. But even for those people in the industry that are making decisions, there could still be that disconnect to your point. And I think just going back again to the point you made earlier about the whole thousand true fans thing. That's what I think makes that tough because you brought up the point earlier about why, yeah, it's hard to have a recurring purchase with anything, especially when it's hard for anyone to capture the attention.I think recurring purchases can make sense for products like Netflix or Spotify, when they are the interface between all of these other products that we see on a regular basis, at least from a mass consumer perspective. And I know that in investing and finance and other circles, or even in music, there definitely trade publications out there that could justify it because it is offering education related information.But I think that again, how can you get back to that a 100 dollars from 1000 people looking more like. An actual 1 time purchase thing, or 1 time purchase things that you're purchasing. But again, even if you're trying to get someone to purchase 1 t shirt, 1 concert ticket, 2 albums, this, that, and all of those things net your earnings become, a hundred dollars per fan, that's still a lot. Like, how can you do all that and capture the attention you have because you could be asking someone to spend $300 just so that nets out to you, to the artist as $100 and at least the last I see, you know, it's even tailoring Beyonce may not, aren't netting that on the average ticket sale for their concerts because of the resellers and because of, you know, various fees and just all the other people involved. It's very tough to get there.[00:28:49] Tati Cirisano: Yeah. No. And the other thing that we don't want to do is just, you know, squeeze every dollar that we can out of the fans. Like when you use that example of the fan doesn't realize like what, you know, how the money trickles or doesn't trickle back down to the artist. If an artist is trying to sell them something for 300 just so that they make 50 or whatever it is that translates to the fan as them having to spend so much money just to prove that they're a fan of the artist.So I think that's the other side to this is we don't want to. harvest people's fandom. we want to cultivate it. And yeah, the current industry makes it hard hard to fulfill that promise. But the other thing I wanted to bring up before we get deeper into that, another interesting data point, that's sort of a counterpoint to some of this, which is, so at media, we just released a report in partnership with bands in town where we surveyed their users about their experiences with live music. It's a great report, I think it's like one of the, most comprehensive of like post pandemic live audiences that we've seen. So just a quick plug, but the data in it, we were interested in understanding, if superstar tours are becoming so expensive, does that mean that audiences are splurging their entire budget for the year for tickets on that, you know, Taylor Swift tour? And then they don't have anything left to go to the smaller shows that they would normally go to. And our hypothesis was that would be the case, but we actually didn't see that in the data. We saw two things, one is that the audiences who are going to smaller shows tend to be different from the ones that are like going to these, you know, arena and, stadium tours anyway.So they're actually less likely to be bothered by things like rising prices and added fees, because the shows that they're going to aren't as impacted by those issues anyway. And then the other, really interesting question we asked was if we gave you a 300 budget for concert tickets for the year, What would you spend it on?And we gave them four options and nearly half said that they would buy tickets of a few tickets for mid tier artist shows and about a quarter said they'd buy many tickets for many smaller shows. So that's already 75% of the audience. And then the rest were split up between splurging on like a Taylor Swift ticket or putting the money towards a festival. So when push comes to shove and people are forced to decide where to spend their limited tickets budget, they actually weren't, the most likely to go for, you know, the superstar shows, which was not what I expected. And I don't know if that has to do. Yeah, I don't know if that has to do partly with the fragmentation that I'm always talking about. And where I was talking about that, you know, people are actually starting to listen more to these sort of cult stars and not just a handful of big names that people are kind of spreading their listening and these mid tier artists are getting larger fan bases. That could be a part of it. it could just be people being a bit more, you know, pragmatic when they are forced to answer this question in this way. But yeah, I thought that was really interesting.[00:31:43] Dan Runcie: That makes me think of two things. Let's go back to the first board, just in terms of the slightly different audience profile of the big splurger versus the several shows. This is anecdotal, but most of the people I know that are frequent concert goers of smaller mid tier, maybe middle class musician artists, or maybe even slightly higher than that. They're not necessarily posting the shows on Instagram. They're not necessarily discussing it. It's almost like part of their regular day or week like, oh, what do you do? Oh yeah. We went to a show on, Thursday at the independent of San Francisco was cool or something like that. Versus if someone's going to a Taylor Swift or Beyonce show, and I'd even put Coachella and some of these other experiences in there.You hear about it. It's as much the experience, the brand of the thing and why taking an international trip to go watch Beyonce's renaissance tour in Paris or in Amsterdam or doing something similar for a Taylor Swift tickets, or even getting all your friends together to go, you know, have the outfits ready for Coachella. I feel like there's that is almost a very different group. So that felt like at least some anecdotal inferences that feel like they line up with what you're saying. And I think that's right. They are 2 very different types of people. The 2nd point, though, I do have to say, I am, I'm a bit surprised by that, because part of me wondered, okay, is there a little bit of potential bias of what someone is projecting of what they want to be versus what they may actually be right? And then just a natural distribution of, you know, how many people in each of those groups from that 1st point, you mentioned. Were the survey group for the 2nd point, but, yeah, it's 1 of those things where, like, you know, I think, let's say a movie example for me.One of the only times I'd went to the movies this past year so far, and I'm someone that normally goes off on one of the only times I went this past year was to, you know, see Barbie and Oppenheimer, you know, like together and stuff. And if you would have asked me in the beginning of the year, oh, how often do I plan to go to the movies this year?I probably wouldn't be. Oh, I'm only going to go for the biggest weekend of the year. But like, that's what I ended up again. I'm just 1 person with an example, but like, that's what that made think of. [00:33:54] Tati Cirisano: You're absolutely right. Every time we ask a question that is like hypothetical like that, we have to remember that, people will always answer with like their most aspirational self. And maybe people see that and say, Oh, I like to think of myself as, you know, a true artist fan. And I would like to go to more smaller shows or I'm not splurging on the superstar of the festival. So I think it does have to be taken with a grain of salt. I think the sample size is big enough. This was like nearly 3000 people and the numbers are pretty. like stark enough that I think it still gives us a sense that the majority of these live music audiences are wanting to go to the, or would prioritize those smaller shows, but you're absolutely right that every time we ask a question like this, we have to take it with a grain of salt.[00:34:39] Dan Runcie: Indeed. And 1 thing I do want to tap into as well. You mentioned this back when we were texting back and forth leading up to this. It's about Pandora. You mentioned how the founder there had built a service, ideally intending to serve the middle class. And I went back and found 1 of the quotes. I'll read it here. He said, this is 10 Western trend. He said, when I found Pandora, the purpose of it was to build a discovery engine for lesser known musicians. I wouldn't say we lost our way, but we got sucked into the music industrial complex vortex, which is quite the quote, but I feel like that music industrial complex vortex is probably a few things. One, I think their rights holders discussions and negotiations back and forth with the record labels were quite public in a way that more recent ones haven't been. So that's 1 thing. But 2, I think a lot of it stems back to. This whole power law dynamic that we've been talking about. So you take the two of those together, you're partnering with companies that want their 1% of music to rise above the ranks. And it's in your platform's best interest from a financial perspective to monetize that piece too, which just adds another layer to it.[00:35:56] Tati Cirisano: Yeah, no, I think that. All of this is the, you know, second order impacts of streaming that all of the platforms are dealing with Westergen was just the first person to admit it. I don't think that, you know, most streaming platforms are not going out there and talking about this in such, honest terms. So I think, you know, that quote just the first one to really say it publicly.[00:36:18] Dan Runcie: Yeah. Yeah. Agreed. And I think with this too, the question I keep coming back to is the sad question that I do ask and wonder is. This a viable business model for a company? There are several companies that have raised money in recent years, on this goal of serving the artist middle class, and I think it is something that often sounds great and compelling as a calling card.You're able to show it and share it and pitch decks about how it is this underserved audience, especially if you talk about where most of the revenue is accrued, and you can talk about the long tail, but do you think that this is a viable business model? Or have we seen examples where this has worked in practice where? Yes, a company and to be clear, not even that a company has to do it solely like they can't serve anyone that is more successful than a middle class musician, but have they done so.[00:37:15] Tati Cirisano: Yeah, it's a really good question. So yeah, I was thinking about that too when we were, texting about this over. Does it actually even make sense to focus on this goal of, like, enabling a class of middle class musicians? Because I think sometimes, the very important conversations about making the music business more fair to creators, what gets lost in that is that the goal is not for everyone to be successful because that's just not the way that any industry works, that anything works, there's still always going to be a bit of a hierarchy. But we just want to make sure that the odds are not so stacked against creators, that things aren't so unfair and that it's not impossible, you know, to make, a living off this.but I think that for it to work, ideally there needs to be a way or probably monetize music fandom rather than just large audiences. And I think that's something that. The music industry as a whole is starting to understand. And I think that we might start to see, I mean, we're already having a lot of conversations about like what the next, streaming business model could look like, like user centric has been tossed out for that.and this idea of maybe active listenership, if you can determine whether someone is an active fan that, you know, listening might get more royalties than the passive fan. We're having these conversations. And I think, to your point earlier. Streaming put a cap on what you can spend as a fan. There isn't any extra thing that you can buy.If you're a super fan, everyone is paying 9.99. And there are examples of streaming services that have monetized fandom like if you look at Tencent and NetEase in China, like they earn more of their annual revenue from a small segment of super fans paying extra for features than they do from a way larger base of subscribers.And that's a whole other, you know, rabbit hole to go down because I don't know how that money is actually shaking out in terms of whether it's still mostly going to the biggest artists or, you know, how much is actually going down to the creators, but I think that, it's possible to build a streaming model that monetizes not just scale, but also fandom and that could be a really big game changer, for this middle class of artists.I also think that to do that, we need to recultivate fandom in the first place, because again, we've spent the past decade teaching people to listen passively. So we can't just, you know, like with user centric. You can't just slap that model on a Spotify because so many of their listeners are passive.It's not a place that breeds fandom or encourages people or gives them ways to be more active fans. So there's a lot of work to do, but I think that these conversations are happening in a way that they haven't, at least in, you know, so long as I've been studying this. So I think that's at least a good thing that we're confronting all of these issues. [00:40:05] Dan Runcie: Yeah, I think a number of those things and it's likely 1 of those things where the individual thing itself may not make the huge bump itself, but the collection or the collective of them do help raise the gap, right? So 10 cent for years, tipping and things like that have worked well. And we've seen the success there. 1 of the pushbacks you've often heard is that, oh, well, western culture isn't as, you know, into that or into this or into that. And I'm like, well, I mean, do we really know that's true until you try it? I feel like the past year, all I've seen is more and more places where physical locations. I've never tipped anyone before turning that square or toast thing over to my direction. And then now they want me to go. Give a 20, 25, 30% tip. And I'm like, excuse me. So granted, I know this is a whole debate now that people have very strong opinions on, but if anything, that shows me that whether or not people may like it or not, there is some aspect of that. So whatever thing like that can be created for artists that taps into that guilt or that shame that gets people to also go along with the tipping, even if they may not want to, I mean, I hate wording it like that because that's probably just my opinion about how I feel about some of the merchant style tipping that has been introduced recently. But I say that to say that shows that there's examples of this that have been introduced.So I think about that on that side and then I think 2 on the, whether it's user centric streaming and things like that. I do think that whether it's sound cloud or title, or some of these other companies have shown some of the results. I think we'll see a few more soon as well. That do show the impact there. And I know that that's been another contentious thing with the record labels and others, but I do think that in the end, there's other things that, you know, can still level the playing field for everyone. The thing that I think a lot about is what the physical purchases look like. And we all know that vinyl and other physical formats have continued to increase, but I also feel like that's a bit subject to the superstar game as well.I don't know the answer to this question I'm about to ask, but if I was a middle class artist right now, I'm about to release my album and I wanted to have. A bunch of vinyl that was made for my fan base. Could I have that ready? The first week that my album comes out, could I have that out there knowing all of the supply chain and logistical issues that may still exist with vinyl?Because last time I checked the record labels and others were getting. Priority and they were more likely to give that priority to the Harry Styles and the Taylor Swift's and others that did have huge first week sales numbers, largely due to the vinyl that they were able to sell. So, is a middle class musician able to participate in that same way, at least upon the initial onset of their album release? I'm not sure, but things like that just make it easier for them to be able to monetize and capture that moment.[00:43:09] Tati Cirisano: Yeah. No, I'm, glad that you brought that up. And that reminds me of another thing, because I think you would also ask, like, as any company doing this or has any company done this? Well, and I feel like band camp is worth mentioning here, you know, I think a lot of artists see that as I've seen bandcamp as sort of a lifeline throughout a lot of these struggles and something else that's interesting about it, speaking of the whole tipping thing is. I think most albums or most, if you're going to band camp and you're buying a digital version of an album, there's nothing more of an expression of fandom because what are most of those people are going to do with that? They're really just doing it to support the artists because they probably already have a streaming subscription.They can listen to the album somewhere else, they don't need band camp for it. And I think a lot of artists as well. Put up their music or whatever. Yeah, yeah, when they put up their music on band camp, it's oftentimes pay what you want. And I remember, back when I was at Billboard, I did a big feature on Bandcamp, and I remember them telling me at the time that, the majority of fans pay more than asking. I don't know if that's still true, but that's a crazy stat! That the majority of fans are willing to pay more than asking when this is a pay what you want to purchase. So, you know, I think that's an example of this working. and people wanting to support their favorite artists purely to support them and maybe not even really getting, a vinyl album in return cause a lot of times it's just a digital download, but yeah, I think bandcamp deserves shouting out here. [00:44:33] Dan Runcie: They're a good 1 dimension to, because they stand a bit different in this dynamic of companies that have been raised or that have been started. They didn't necessarily start. I think that a lot of people have thought of band camp is almost this. Almost a bit of like a public utility or public good for the industry.I don't know if that's always the most fair definition, but I think people say that because it gets into this viability of business model and how long it can scale and things you can do. And I know they've since, I believe it was acquired by Epic games at least a couple years ago that that had happened. But I remember leading up to that people had wondered the same thing about band camp and it's just like you're saying a company, a platform that offer this opportunity, you want to buy the 1 thing. Great. You want to buy it as many times you want to pay even more for it, they make it easy on the website.They have band camp Fridays where they don't take the fee for things like there were things in place to make it happen, but it's 1 of those things where at the end of the day, I feel like the economics of convenience took over in a lot of ways for where the majority of people sat, but could you still do enough on the platform?And there definitely were success stories, which were cool to see, but it definitely wasn't necessarily the norm for all artists. So, when I think about it, collectively, I do think that it's viable to have a platform and have a business that does serve the middle class musician, and I think that it's probably more likely to be a platform that either relied on minimal outside funding or didn't, or was it invested by some of the biggest venture capital firms?And I say that not in any way against venture capital, but more so that the nature of those investments, they're trying to get 10 billion dollar exits from people, or they're trying to get 10Billion dollar exits from the companies they invest in, and they're not going to get that level of exit unless this is a consumer product.We'll talk about a consumer product. This is a consumer product that reaches everyone and can maximize that nth degree, which then makes it subject to the whole power law dynamic that we're then talking about. So I do think it can work for it. Like I said, whether it's bootstrapper and minimal funding company, where the economics work out.And I do think that I forget if, band camp raised or how much they did, but still relatively lean compared to the amount of money that many of the other consumer music, tech companies have raised, [00:47:15] Tati Cirisano: For sure. And another point on the business models, because I remember earlier you were mentioning one of the issues is there's like competing incentives, right? Between streaming platforms and labels and artists. Not everyone wants the same thing, but with Bandcamp's business model, since they're taking, since it's pretty simple, they're taking a cut of your sales. They only make money when the artist makes money. So there's this very clear, if you win, we win situation going on. And I think not every company can make it, you know, be that simple. But I think that's maybe a learning to keep in mind is that. The artists, the artist's goals should align with the business's goals.[00:47:55] Dan Runcie: Right? Agreed agreed and hopefully align with the target artists that is trying to serve and not necessarily. The uber duper 1% that happened to be generating the most money for them, which can often happen with these things. before we close things out, though. Let's fast forward to 20 years from now, and I say 20 years from now, because I think it's clear 20 years ago, a lot of people felt like it was a better time for the middle class musician.Let me actually say 25 years ago, just because he get pre Napster and say, 25 years ago, a lot of people feel like it was a better time then than it is now. Now I alter that. It's different. It probably takes a lot more work and more tentacles involved with everything, but it's still possible. But 20 years from now, do you think it's any easier for the middle class musician?[00:48:43] Tati Cirisano: I love it. When you, end on one of these crazy think 20 years in the future questions, is it any easier? I think it's, I mean, I know this is an annoying answer, but I think it's easier in some ways and harder and others. Like I think that for the same, all these reasons that we've talked about, I think, things are only going to get more and more fragmented. And I think in the 20 years from now, it won't be that there's, you know, this 1% of superstars and then everyone else, it'll increasingly be that there's many, many of these like middle tier or even what we think was smaller tier artists.And in that way, creating this core fan base is going to be even more important, but building it is going to be even harder. So I think, I don't know. I remember, I did an interview a couple months ago where we talked about a lot of similar things about, you know, streaming economics and how hard it is today and all these things.And at the end, they asked me, well, all of this considered, would you rather be an artist today or an artist then? And if I think about that same, like, if I kind of take that lens to your question, think about it now, or even in 20 years, I still think I'd rather be an artist now. Because I think there are many more ways to get in.There's many more, you know, options available to you. And I think before the door was closed to so many, just so many people, and now at least the door is open, like the door is open and you enter an insanely crowded room where, you know, there's obstacles flying at you left and right, but at least the door is open. So yeah, complicated question, complicated answer. What do you think Dan?[00:50:20] Dan Runcie: I think net harder, I would say if I had to pick net harder, like just more difficult in general, but I do agree with you that in general. It's easier to get started and have a chance of having a breakthrough today that it is. Yes, that it was yesterday because of the gatekeepers and things like that. But once you do break through, it's harder to get noticed today than it was yesterday. So I think those dynamics increase further 20, 25 years out, even 5 years out, I would say, and that does make it harder for someone in this 50 to 150 K range to meet their people. It requires even more intentionality of trying to make sure you're talking to the right base that you're truly trying to, let's say, you're taking advantage of the long tail.You're trying to find your pocket and focus on the niche. You're going to take a much more thorough and deep business plan to do everything you want to do, even if you're only bringing in a few percent. 70, 000 from all of the various things you're doing, but you're doing it. And I think that would only get harder.And I think that probably speaks to more broad trends just with the state of the middle class and other areas outside of music. But that's how I see things.[00:51:45] Tati Cirisano: Yeah. No, I think that makes sense like if I really boil it down, I don't think it's going to get easier. So it's either going to get harder or it's going to be about the same. Yeah, because these, you know, positives and negatives will sort of cancel each other out.[00:52:00] Dan Runcie: Agreed. Well, we'll continue to monitor this continue to keep track of the companies that are aiming to solve this. I know it's a problem. That's easier said than done. I think there's plenty of ways that it can work. It can't work. And I think for a lot of the companies that are raising big amounts of money to solve this problem, it could be worth a look to see what that path looks like and other companies that have tried to do this as well and where their shortcomings were but rooting for the middle class musicians, an important group, and hopefully the more and more platforms we have that just increases the likelihood that someone can find the right service that can help them get to where they want to be.[00:52:39] Tati Cirisano: Yeah. And I mean, like I said, we're having these conversations more now there's more, creative thinking about what the future looks like and, what innovation looks like in this area. So I think we're having the conversations and that's a positive thing.[00:52:53] Dan Runcie: Indeed. All right, Tati, before we let you go, anything else coming up from media or from you that we should keep an eye out on?[00:53:01] Tati Cirisano: Yeah, I would say, like I was, mentioning before we have this great new report on live music audiences that is already out on our website. And I will also have a report coming out in early August on the state of fandom, the state of music fandom. So I'm very excited about that one, as you probably guess, one of my favorite things to talk about.So, yeah, look out for that. I'm excited.[00:53:23] Dan Runcie: Will do, awesome. Thanks again. This was fun. Thanks for coming on.[00:53:27] Tati Cirisano: Thanks, Dan.[00:53:28] Dan Runcie Outro Audio: If you enjoyed this podcast, go ahead and share it with a friend, copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast. Go ahead, rate the podcast, give it a high rating and leave a review. Tell people why you like the podcast that helps more people discover the show. Thank you in advance. Talk to you next week.

"Marketing is about breaking through to audiences ... but also inspiring enthusiasm so that everyone else also finds out about your content, because marketing dollars can really only go so far." Anjali Midha co-founder and CEO of Diesel Labs. Anjali Midha, an entrepreneur with a passion for driving innovation in media and marketing analytics. She is the co-founder & CEO of Diesel Labs, a content analytics company that addresses the toughest questions facing media companies today. Before starting Diesel Labs, she was the Global Director of Media Research at Twitter where she developed the ‘playbook' for television - illuminating the synergies and opportunities across traditional and new media. She joined Twitter via their acquisition of Bluefin Labs (the pioneer of Social TV Analytics), prior to which she was the VP of Strategy & Analytics at Digitas. Anjali holds a BA in Economics from Tufts University and an MBA from MIT Sloan.

Gian is, without a doubt, the most decorated of our Legends of Media Research to date, having been awarded just about every marketing research and entrepreneur award under the sun! And his impact on our industry has been massive - particularly with the introduction of purchase scanning data in the 1980s, while he served as CEO of IRI, and internet usage data in the late 1990's where he was CEO/co-founder of Comscore. Hear the background stories to how both sets of measures came to market - and so much more.  It's an episode you won't want to miss.

There's more than meets the eye, when it comes to the representation of robots in popular culture. In TV and movies like "The Terminator," robots have a way of appearing much more advanced and seamless than engineers actually experience behind the scenes. Host Dr. Melinda Lewis joins U.S. Naval Research Laboratory mechanical engineer and Drexel University alumnus Matt Wiese to define what we mean by robots, cyborgs, and androids and to rethink how the media portrays technological advances of this type. Wiese also discusses how his work on Drexel's comedy improv team applies to collaborative work in the robotics field. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded February 9, 2023 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Matt Wiese (Alumnus, Drexel University; Mechanical Engineer, U.S. Naval Research Laboratory) Host and Producer: Melinda Lewis, PhD (Director of Strategy, Pennoni Honors College) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Associate Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Olivier Jacques Graphic Design: Zale Heller Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. Copyright © 2023 Drexel University

"The Real Housewives" is a television franchise of voluminous proportions. With over 10 American-produced series since 2006 (each with multiple seasons and based in varied locations), a conglomerate of spin-offs, and numerous international series to boot, the Bravo network continues to attract the attention of audiences the world over. With characters, locations, and on- and off-screen drama aplenty, the franchise is both soap-opera-reality-show and cultural institution. Host Dr. Melinda Lewis joins longtime "Housewives" fan and Drexel University Director of International Admissions Christie Ruggieri to take a deep dive into "The Real Housewives" universe, where the show's stars exhibit transgressive behavior and demonstrate how anything is possible on modern television. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded January 18, 2023 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Christie Ruggieri (Director, International Admissions; Alumna, Drexel University) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Zale Heller Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. Copyright © 2023 Drexel University

The Streaming Revolution Will Not Be Televised: To kick off the second season of Clear the Air, RPA's own SVP / Executive Director of Strategic Investments, Lisa Herdman, and VP / Director of Media Research, Claire Browne, sit down to discuss the past, present, and future of streaming and how it continues to dominate the media landscape. Together, they analyze why bundles are lucrative business models for streaming platforms to adopt, how ad dollars in the space are expected to increase this year despite the looming danger of a recession, and why we all work in Hollywood now. Sit back and enjoy the ride.

For over two centuries, the Academy of Natural Sciences of Drexel University has been at the forefront of scientific research in the Philadelphia metropolitan region and across the globe. Now, more than ever, the institution's vast collections, research initiatives, and community-based projects are forging pathways to scientific understanding about the world's natural environment and its inhabitants. Host Dr. Melinda Lewis joins two esteemed science experts from the Academy: Dr. Rick McCourt (Curator of Botany and Director of the Center for Systematic Biology and Evolution; Drexel University Professor of Biodiversity, Earth and Environmental Science) and Roland Wall (Senior Director of Environmental Initiatives for the Patrick Center for Environmental Research). This in-depth conversation addresses the impact of climate change, the accessibility of science writing in popular culture, and the greater movement for environmental justice and access to nature for all. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded October 28, 2022 through virtual conferencing (Philadelphia, PA, USA). Featured Guests: Rick McCourt (Professor, Department of Biodiversity, Earth and Environmental Science, Drexel University; Curator of Botany and Director of the Center for Systematic Biology and Evolution, Academy of Natural Sciences of Drexel University) and Roland Wall (Senior Director for Environmental Initiatives, Patrick Center for Environmental Research, Academy of Natural Sciences of Drexel University) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Kat Heller Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. For more info on the Academy of Natural Sciences of Drexel University, visit https://ansp.org. Copyright © 2023 Drexel University

The Streaming Revolution Will Not Be Televised To kick off the second season of Clear the Air, RPA's own SVP / Executive Director of Strategic Investments, Lisa Herdman, and VP / Director of Media Research, Claire Browne, sit down to discuss the past, present, and future of streaming and how it continues to dominate the media landscape. Together, they analyze why bundles are lucrative business models for streaming platforms to adopt, how ad dollars in the space are expected to increase this year despite the looming danger of a recession, and why we all work in Hollywood now. Sit back and enjoy the ride.

The ongoing issue of Palestinian incitement against Israel and Jews, in general, has long been an obstacle to peace between Israel and the Palestinians. In territories under the Palestinian Authority (PA), to say nothing of Hamas rule in the Gaza Strip, Israel is frequently and widely demonized and delegitimized as a Jewish state, and general and overt antisemitism is used as a means to attack Israel. This messaging, often coming from official Palestinian Authority outlets, is significantly at odds with the public persona put forward by PA President Mahmoud Abbas to global audiences, which is pro-peace. And if you've ever seen an Arabic-language video of a Palestinian representative being candid and less than diplomatic in speaking about Israel or Jews, there's a good chance it was from MEMRI. MEMRI, or the Middle East Media Research Institute, is a nonprofit press monitoring and analysis organization that provides translation of media outlets from a number of languages, including Arabic. MEMRI's deputy director, Elliot Zweig, is our guest on this week's podcast. Welcome to The Honest Report podcast. --- Send in a voice message: https://anchor.fm/thehonestreport/message

Esports, as a growing cultural institution, finds itself in the middle of a debate over how it qualifies in the world of professional athletics and competitive sport. With growing popularity among gamers and fans alike, esports thrives among online streamers and college-level competitors. Host Dr. Melinda Lewis faces off with Drexel University undergraduate, gamer, and Drexel Esports President Claire Toomey to understand the rapid evolution of esports and how colleges are fostering a sense of sport and community for gamers. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded October 21, 2022 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Claire Toomey (President, Drexel Esports and Undergraduate Student, Software Engineering, College of Computing & Informatics, Drexel University) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Kat Heller Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. For more info on Drexel University esports, visit https://linktr.ee/drexelesports. Copyright © 2022 Drexel University

Magic has a way of (abracadabra!) appearing ubiquitously throughout popular culture. Integrated with mysticism and illusion is the core element of performance, transcending the carnival atmosphere and stage into other arenas of human life and interaction. Host Dr. Melinda Lewis talks with magician, improv comedian, Drexel University English writing professor, and overall “Man of Mystery” Dr. Fred Siegel to uncover the allure of the magic genre, its evolution, and its performative relevance to life on stage and in the classroom. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded September 29, 2022 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Fred Siegel, PhD (Teaching Professor of English and Director, First-Year Writing Program, Department of English & Philosophy, College of Arts and Sciences, Drexel University) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Kat Heller Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. Visit "The Smart Set" at https://www.thesmartset.com/magic-class for a related essay by Fred Siegel. Copyright © 2022 Drexel University

La Russia smentisce qualsiasi aiuto militare dell'Iran. Ma le dichiarazioni del Cremlino vengono smentite persino dai leader iraniani...

This special episode highlights a previously recorded discussion in partnership with the Barnes Foundation in Philadelphia. Presented as an installment of the Pennoni Panels series–and later produced as a pair of episodes for the PBS-broadcast TV series "The Civil Discourse," hosted by Drexel University Pennoni Honors College Dean Paula Marantz Cohen–“When Great Artists Behave Badly” features Tony Award-winning dancer/choreographer Bill T. Jones and a panel of esteemed experts. The panelists take on the topic of controversial artists and how society can separate the art from the artist in cases of toxic, immoral personal behavior. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded January 21, 2021 through virtual conferencing with supplemental recording on October 13, 2022 (Philadelphia, PA, USA). Featured Guests: Paula Marantz Cohen, PhD (Dean and Host of The Civil Discourse); Aruna D'Souza (Author and Art Critic); Bill T. Jones (Tony Award-Winning Dancer/Choreographer); Martha Lucy, PhD (Barnes Foundation Renoir Scholar); and Erich Hatala Matthes, PhD (Author and Philosopher) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Paula Marantz Cohen, PhD with Melinda Lewis, PhD and Brian Kantorek Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Kat Heller Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. To watch these episodes and others from "The Civil Discourse," check your local PBS listings or visit www.youtube.com/c/thecivildiscourse. Copyright © 2022 Drexel University

The image and stories of working-class people have been central to an understanding of "America" and the "American Dream.” Their stories are omnipresent in popular literature, film, television, music, and everyday life. Host Dr. Melinda Lewis takes a tour with Drexel University sociologist Dr. Amanda McMillan Lequieu to explore a deindustrialized United States of America and its hardest hit communities, where some choose to leave while others remain. Along the way, the two also explore narratives that have helped shape policy and public perception of what it means to come from a place of importance. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded May 27, 2022 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Amanda McMillan Lequieu, PhD (Assistant Professor, Department of Sociology, Center for Science, Technology and Society, College of Arts and Sciences, Drexel University) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD (Dean, Pennoni Honors College) Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Bhavna Ganesan Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. To learn more about Amanda McMillan Lequieu, visit www.amandamcmillanlequieu.com. Additional historical information on Herminie, PA by Jim Miller. To learn more about this and other Pennsylvania towns, visit www.youtube.com/channel/UCbtpYJoRYw7PdJ3M7IyWvYg. Copyright © 2022 Drexel University

Tim Graham, Executive Editor of Newsbusters at The Media Research, joined WMAL's "O'Connor and Company" radio program on Wednesday about the latest news on Big Tech censorship. Twitter: https://twitter.com/TimJGraham For more coverage on the issues that matter to you, visit www.WMAL.com, download the WMAL app or tune in live on WMAL-FM 105.9 FM from 5-9 AM ET. To join the conversation, check us out on Twitter: @WMALDC, @LarryOConnor,  @Jgunlock, and @patricepinkfile.See omnystudio.com/listener for privacy information.

Are you one of those people who is always tricked into doing or buying things you don't want? Do you want to find out how they do it or how to do it yourself? You're in luck! If you listen to this episode, you will find out all about it! You will even get free access to all the other W&A episodes on language in business, politics and beyond and you'll discover that your current annoyance and reluctance by reading this is caused by genre awareness. Do it now or regret it later! #hardselltacticsshamelesslybroughttoyoubuyW&A.   The episode, as always, is accompanied by a blog post on wordsandactions.blog, where we publish additional resources, and importantly for this episode, the images we discuss.  In this episode on ‘selling, hard and soft and everything in between', we want to raise advertising literacy by showing and identifying how language and semiotics are used in marketing to influence people's buying behaviour. In the introductory chat, it soon becomes obvious that advertising is everywhere in different shapes and forms and that all three hosts have succumbed to it: we even shamelessly do it on the podcast itself (can you spot all instances?) and we have to admit to having bought clothes, paintbrushes and ice-cream ourselves, fuelled by subtle and less subtle advertising. In the introduction, Erika refers to Arran Stibbe's work, in which he analyses the discourse in textbooks on economics. We then move on to elusive types of advertising, where the genre is bended and blended with others so it is harder to spot. Veronika starts with an example of so-called native advertising. Later, Bernard mentions the study below about the phenomenon: Apostol, N.-E. (2020). What is known about native advertising in editorial contexts? A descriptive literature review. Journal of Media Research 37, 59-81. Veronika also refers to product placement and illustrates how the appearance of the Ray-Ban Aviator sunglasses in the Tom Cruise blockbusters Top Gun and Maverick boosted sales (and US Navy applications).  Non-conventional and blended advertisements are often referred to with blended (or ‘portmanteau') words as well: advertorials, infomercials, shopatainment. The last of these includes live sellers on video channels. A recent MA dissertation at Lancaster University addresses the phenomenon from a language point of view Tan, K. (2021). A corpus-based analysis on the language in Chinese livestream sales. MA dissertation, Lancaster University.  This case study of one live seller shows that, unsurprisingly, verbs and nouns closely related to purchase and discount are frequently used in livestream sales (‘buy', ‘get', ‘coupon'). In addition, live sellers use evaluative nouns (‘beauties') and personal pronouns like ‘everybody', ‘we', etc. to address the customers. Repetitions or interactions with audiences can also be noticed. Hard and soft advertising strategies are applied in livestream sales together, to attract and persuade customers. In the run-down of advertising types, we also refer to basic distinctions that are often made, such as hard selling and soft selling (see title of this episode) and reason vs. tickle, which are also covered in Bernstein's and Cook's works. Bernard refers to the typical features of hard selling as the very recognizable aggressive tactics that centralise the product and its features and benefits, while playing on the scarcity principle and fear of missing out. Veronika's son, Feranmi Ayo Omoniyi, would like to be given full credit for all his research into hard-selling tactics in computer games – thank you!  Erika mentions that soft selling plays more on emotions, stories, atmosphere and associations, with the possessor reflecting the possessed. Still in the introduction, we also mention Bhatia's colony of promotional genres, which features both central and more peripheral members. We then move on to the interview with Joe McVeigh, who is a PhD candidate at the University of Helsinki in Finland. You can also find him on Twitter: @EvilJoeMcVeigh (ignore the account handle, he is very nice!). In the analysis we look at an example each that we brought - these can be found at wordsandactions.blog! And that's it - see you next time for the start of season 4!

Fandom often gets a bad rap, with communities surrounding popular texts like "Star Trek," "Lord of the Rings," and professional wrestling framed as toxic, desperate, or some combination of both. But fan communities are also the source of vibrancy and community-building with fans who make and share art, fan fiction, fanzines, clubs/message boards, cosplay, and conventions. Participatory culture helps expand the boundaries of the text, expanding its reach and meanings. Host Dr. Melinda Lewis explores these communities with Drexel University student, artist, writer, and consummate fan Kat Heller, who discusses their own research and relationship with fandom. The conversation also dives into the depths of the HBO Max series "Our Flag Means Death," offering overt queer representation with its characters and, in turn, plenty for fans to enjoy. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded May 20, 2022 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Kat Heller (Undergraduate, Animation & Visual Effects, Westphal College of Media Arts & Design, Drexel University) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD (Dean, Pennoni Honors College) Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Social Media Outreach: Jaelynn Vesey Graphic Design: Bhavna Ganesan Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. Copyright © 2022 Drexel University

"Euphoria" is a highly bingeable HBO series that has made an indelible impact on pop culture of the early 2020s. It has drugs, sex, cutting-edge fashion, constant conflict, and plenty of references to past TV teen dramas like "My So-Called Life" and "Beverly Hills, 90210." It also places lead star Zendaya and writer/director Sam Levinson in the spotlight, but not without criticism. Host Dr. Melinda Lewis welcomes Drexel University student and "Euphoria" critic Kiara Santos for a debrief of the show's first two seasons, exploring the ups and downs of the cast of characters and the writing behind all the drama. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded March 11, 2022 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Kiara Santos (Undergraduate, Communication, College of Arts and Sciences, Drexel University) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD (Dean, Pennoni Honors College) Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Graphic Design: Bhavna Ganesan Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. Copyright © 2022 Drexel University

Host Flick Ford speaks to Monash University Associate Professor Belinda Smaill about the podcast series SEEING GREEN that revisits Aussie film classics through an environmental lens. Flick is then joined by Dr. Simon Troon, Researcher from Environment and Media Research at Monash University, who shares a mix of climate change films, from action to drama to documentaries.Facebook: https://www.facebook.com/primalscreenshow/Instagram: https://www.instagram.com/primal_screen_show/Twitter: https://twitter.com/primal_screen

Professional wrestling encapsulates so much of what's popular in the greater culture: dynamic characters; athleticism; narrative conflict; and riveting performance. For decades in the media spotlight, wrestling has maintained a stronghold on audiences with the likes of Hulk Hogan, André the Giant, Rick Flair, Dusty Rhodes, The Rock, Stone Cold Steve Austin, and The Undertaker. However, as the profession changes, so do the players with the passing of time and their own aging in the face of mortality. Host Dr. Melinda Lewis gets in the ring with Drexel University student services pro and lifelong wrestling fan Dr. Subir Sahu for a match for the ages. The tag team takes on wrestling's powerful place in pop culture with a special focus on The Undertaker's trajectory from Mean Mark Callous to a masterful icon of the sport. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded January 21, 2022 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Subir Sahu, PhD (Senior Vice President for Student Success, Enrollment Management & Student Success, Drexel University) Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD (Dean, Pennoni Honors College) Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Graphic Design: Camille Velasquez Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. Copyright © 2022 Drexel University

Dr. Jakob Ohme, Senior Researcher at the Weizenbaum Institute, discusses his research on mobile news consumption. Dr. Ohme breaks down how exposure to political news on a smartphone might differ from a desktop, and he breaks down results from a recent eye-tracking study exploring the topic. We also discuss how smartphones can be used for data collection, through Dr. Ohme's research using a smartphone media diary as well as data from the iOS Screen Time function. The studies discussed in the episode are: Mobile News Learning: Investigating Political Knowledge Gains in a Social Media Newsfeed with Mobile Eye Tracking (2021)Mobile Data Donations: Assessing Self-report Accuracy and Sample Biases with the iOS Screen Time Function (2020)Mobile but Not Mobilized? Differential Gains from Mobile News Consumption for Citizens' Political Knowledge and Campaign Participation (2020)

Beauty pageants have a prominent history in American culture, where they evolved from baby contests at state fairs to full-blown Miss America extravaganzas for millions of viewers to enjoy. With its evolution, pageantry in all its splendor has found a home in popular culture and inspired TV shows like "The Bachelor" and "Toddlers & Tiaras," movies like "Miss Congeniality" and "Drop Dead Gorgeous," and also the way social media influencers comport themselves. Host Dr. Melinda Lewis examines the history, trends, and cultural impact of beauty pageants with Dr. Hilary Levey Friedman, a Brown University sociology professor, the author of "Here She Is: The Complicated Reign of the Beauty Pageant in America," and the daughter of a former Miss America winner. "Pop, the Question" is a production of Marketing & Media in Pennoni Honors College at Drexel University. Recorded October 22, 2021 through virtual conferencing (Philadelphia, PA, USA). Featured Guest: Hilary Levey Friedman, PhD (Sociologist, Brown University Professor, and Author of "Here She Is: The Complicated Reign of the Beauty Pageant in America") Host and Producer: Melinda Lewis, PhD (Associate Director, Marketing & Media) Dean: Paula Marantz Cohen, PhD (Dean, Pennoni Honors College) Executive Producer: Erica Levi Zelinger (Director, Marketing & Media) Producer: Brian Kantorek (Assistant Director, Marketing & Media) Research and Script: Melinda Lewis, PhD Audio Engineering and Editing: Brian Kantorek Original Theme Music: Brian Kantorek Production Assistance: Noah Levine Graphic Design: Camille Velasquez Logo Design: Michal Anderson Additional Voiceover: Malia Lewis The views expressed in this podcast are not necessarily those of Drexel University or Pennoni Honors College. Copyright © 2022 Drexel University To learn more about Hilary Levey Friedman, visit www.hilaryleveyfriedman.com.

Meet Ursula Schmid, a PhD candidate in media and communication at the LMU university in Munich, Germany. In this episode Ursula talks with Danni about her journey that started with a BA in Communication Science with Sociology, and MA in Communication Science at the Institute for Communication Science and Media Research at LMU Munich from 2016 to 2018. After graduating, she initially worked as a market researcher with a research focus on media and advertising effects, only to figure out that she prefers academia over industry and return to LMU to do her PhD.Ursula shares about the circumstances that led her to understand that she wasn't happy and decided to quit her industry position, take a few months off, and start a PhD. She also explains about her research on the human response to online hate speech as it (hate speech) appears in humorous memes. Her research is conducted as part of a larger project on the application of AI for the early detection of criminal offences. In this episode Danni drank an unusual tea and Ursula drank a local Munich beer.Ursula participated in the Hate-Speech - interdisciplinary approaches workshop of the Minerva Center for the Rule of Law under Extreme Conditions. You can watch her presentation on the Minerva Center's YouTube channel.You can follow Ursula on:Twitter: @uk_schmidLinkedIn: Ursula Kristin SchmidLMU pageContact us:Host: Danni Reches (@DanniReches)Producer and Editor: Ido Rosenzweig (@IdoRosenzweig)Contact us:On Twitter: @What2DoWithTHATOn Facebook: @What2DoWithTHATOn Instagram: @What2DoWithTHATSubscribe to our YouTube ChannelOur website: www.what2dowiththat.comEnjoy the episode! See acast.com/privacy for privacy and opt-out information.

A discussion with IAB team members on the most important topics and initiatives for the Australian digital advertising industry. A run down on key trends on media consumptions, ecommerce, adtech, privacy and much more. Gai is joined by Natalie Stanbury (Director of Research), Jonas Jaanimagi (Tech Lead), Sarah Waladan (Director of Policy & Regulation) and Jenn Thomas (Head of Membership & Marketing)See omnystudio.com/listener for privacy information.

Going over the recent results of the New England Market Resarch poll of the most popular members of Boston sports media and Mike and Jared give list the worst

Whether it's the sound of holiday hits on the radio or holiday movies or TV programming, media plays a big role in getting us into the spirit of the holidays at the end of the year. By the beginning of December, around 500 radio stations across the U.S. switch to an holiday music format. When it comes to TV, almost 100 million homes across the country tuned in to some kind of holiday programming last year. And these numbers highlight the opportunities radio and TV provide for brands and advertisers to reach eager holiday shoppers. This episode of The Database, a podcast from Nielsen, dives in to media around the holidays. A group of experts explore the role radio and TV play in getting us into the spirit, who's consuming holiday programing, and the opportunities holiday programming holds for programmers—and advertisers. Our guests on this episode include Jon Miller, VP, Audience Insights, Nielsen; Peter Katsingris, SVP, Audience Insights, Nielsen; Sal Tuzzeo, VP, Watch Communications, Nielsen; and Jess Aguirre, SVP, Media Research and Consumer Insights, Hallmark.