David O'Connor

🌟 Breaking News in Talent Acquisition! 🌟 Is your company ready to hire in the future? As we dive deeper into 2024, the trend toward skills-based hiring is gaining unstoppable momentum! 🚀 At HINESight Entertainment, we've fully embraced the era of skills-based hiring. We've shifted our perspective, recognizing that brilliance is not confined to paper but is found in the skills and potential individuals bring. This approach has not only allowed us to tap into diverse talents but has also been a catalyst for innovation and fuel for our exponential growth. 🌟Did you know: 36% increase in job postings omitting degree requirements since 2019! 📈 Skills-based hiring can lead to higher retention and fill critical skills gaps, especially in areas like AI 🤖 We're not just talking the talk; we're walking the walk! We're proud to champion initiatives that promote upskilling and internal mobility within our team. From sponsoring collegiate sports to backing unique events like Forestry Days, we're fostering a culture where learning and development are not just buzzwords but the driving force behind our success. 🌳🪓 Join the movement, and let's shape the future together! 🌍✨ #SkillsBasedHiring, #Upskilling, #FutureOfWork, #HINESightEntertainment, #TalentAcquisition, #AI #Innovation

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“In 2022, the Copyright Royalty Board (CRB) accepted a (near) music industry-wide settlement to improve songwriters’ streaming royalty rates in the United States from January 1, 2023. The settlement – known as ‘Phonorecords IV’ or ‘CRB IV’ – will see songwriters and music publishers paid a headline rate of 15.35% of a given interactive streaming service’s US revenue by 2027. That rate is being ‘phased in’, because ‘Phonorecords IV’ covers the five-year period between 2023 and 2027: In 2023 (starting January 1), songwriters and music publishers were to be paid a headline rate of 15.1% of a US service’s revenue; in 2024, this increased to 15.2%; in 2025, it will increase to 15.25%; in 2026 it will increase to 15.3%; and in 2027 it will reach 15.35%. The deal also included a number of changes to other components of the rate, including increases to the per-subscriber minimums and the “Total Content Costs (TCC)” calculations which reflect the rates that services pay to record labels.” #Spotify #NMPA #Streaming #Legal #StreamingRoyalties #Royalties #RecordedMusic #StreamingServices #StreamingMedia #MusicStreams #MusicRoyalties #Songs #Recordings #US #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Songwriters #MusicPublishing #RecordLabels

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Great brands don't just market; they tell stories that resonate. It's not about imprinting a logo in someone's mind, but about crafting narratives that touch their hearts. Through authentic storytelling, brands create emotional connections that inspire loyalty and trust. When people love your story, they naturally love your brand. This is the power of storytelling! It’s not persuasion, it's connection.

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Two very important observations about Sony here: 1️⃣ The fact that Sony bided its time through the streaming wars has been extensively covered in the trades. They resisted the urge to sink millions of 💲to create their own platform and instead purely profited off their catalog by dealing it to the content hungry +’s of the world. This stacked cash in their cabinets and also let them observe audience behavior without risk. Now Sony is flush and informed. 2️⃣ The Alamo acquisition shines a light on a very interesting division of Sony called Sony Pictures EXPERIENCES. If you go through the trouble of building a division with that title and you combine the details of point 1, I’d say Sony believes there is value to be mined in traditional and event theatrical. Sony, with its methodical approach, will certainly have massive sway over the future of exhibition. This is 💯% exciting news. Great to see one of the studios go another way and be diligent. I believe we will see a lot of leadership from Sony in the upcoming years. #alamo #sony #filmindustry #movies

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The visions and opportunities that God is not only bringing to me…but also showing me how to bring those to others. These are life changing moments. When you hear about this one…🥹🤯🙏🏾 As mentioned…at this point, you can’t afford not to work with me. But also…yesterday’s price…you know the rest. 🤣 Let’s go! #sync #levelup #synclicensing #musicbusiness #networking #musicmarketing #custommusic

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To Catch a Killer All Secrets Must Come to Light #CrescentCity Official Trailer produced by #Clever_Caboose with #TerritoryStudios for #Grindstone #Lionsgate drops exclusively today on #Collider. (Posted 7/12/24) Have you visited our website? Check out: clever-caboose.com #movietrailers #filmdistribution #filmmarketing #entertainment #entertainmentmarketing #entertainmentindustry #entertainmentnews

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Billion-dollar PE buyouts are ramping, just see today's Squarespace news. Investors in media x agency deals should pay attention... Global deal activity is up 24% for 2024 YTD, with a total deal volume of $726B. Could be the beginning of a cyclical M&A rally, since deal volume was super depressed over the past couple years... ...and investors need to put money to work! Below are some recent public-to-private highlights, including a large media co deal where I did a deep analysis 👇 May 13 • Permira buying website builder Squarespace • Went public in 2021, closed 1st trading day at $5.9B valuation • $6.6 billion May 6 • EQT Group buying US digital consultancy Perficient • EQT also backs UTA, which has grown through M&A • $3 billion April 2 • Silver Lake buying diversified media co Endeavor • WME / UFC parent co TKO Global will stay public • $13 billion April 1 • Advent International buying payments processor Nuvei • Nuvie backed by celeb Ryan Reynolds • $6.3 billion Similarities across these recent deals include... - founder / CEOs staying on post deal - belief that targets are undervalued in public mkts - desire for more flexibility to grow, do M&A, and drive ent value for new owners That last point is key, as I think there's a strong desire to grow through M&A in a market where there are many sellers who can get picked up at good/fair prices VS the crazyness of 2020/2021. This is timely because... Last month I wrote about public-to-private deal dynamics in my Silver Lake / Endeavor analysis, check it out here --> https://lnkd.in/gtprBx7U I'm also working on an active client deal with similar characteristics, and it's important to know where capital is flowing, and why. Are you all seeing a similar trend?? -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open. #media #agency #creatoreconomy

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Prime Video & Amazon MGM Studios’ latest move into live news coverage, including streaming the night of the upcoming presidential #election, is another significant blow to traditional broadcasters, who are already struggling to retain viewers. Many have shifted to on-demand and streaming platforms, leaving broadcasters fighting to stay relevant. Streaming services, which once focused solely on on-demand #entertainment, are increasingly expanding into live programming, such as sports and now breaking news. Prime Video's election coverage could mark the first significant foray into live news programming by a major standalone streaming platform, primarily known for films, scripted originals, and reality shows. By integrating live news, #PrimeVideo is positioning itself to compete directly with broadcasters in a domain historically dominated by cable networks during pivotal events like elections. This shift underscores the broader trend of streaming platforms evolving into full-service #media ecosystems. With live content becoming a key differentiator, it is becoming harder to see how traditional broadcasters will maintain their foothold in this space. As more viewers demand dynamic, flexible viewing experiences, live programming offers streaming platforms an edge, helping drive subscriber engagement and retention. It's likely that other major digital platforms will follow suit in the near future, further accelerating the shift away from traditional broadcasting models. In essence, this move is both a strategic evolution and a glimpse into a future where streaming platforms dominate not only on-demand entertainment but also real-time events, marking a potential endgame for traditional broadcasters and cable. https://lnkd.in/gD9y9pVE #LITrendingTopics #StreamingWars

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Lights, Camera, YouTube! 🎬 Get ready to hear my take on the future of entertainment! I recently had the opportunity to sit down with El Mundo, the Spanish newspaper, to discuss the meteoric rise of YouTube's creator economy. I firmly believe we are witnessing the birth of a "new Hollywood" right here on YouTube. In the interview, we explored how YouTube is empowering creators and revolutionizing the entertainment industry. Some highlights of our conversation include: 1. The $70 billion+ YouTube has paid to creators, artists, and media companies over the past three years, demonstrating our commitment to supporting creative talent.2 2. Innovations like Shorts, our short-form videos with over 70 billion daily views, and memberships, which have grown 50% in the past year. These provide more ways for creators to connect with audiences and earn income. 3. How we’re addressing the impact of AI, how it's expanding creativity (not replacing it), how we are making sure creators are compensated fairly and how we are exploring AI's potential to improve the platform. Check out 👇 the full interview in El Mundo to learn more about the future of digital entertainment. #YouTube #CreatorEconomy #NewHollywood Link here: https://lnkd.in/eGABz6-C

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Music Business Association Music Biz 2024 coming up in May. Find out more about Reactional Music and what we are delivering across interactive music, music personalisation, in-game economies, generative composable music and the possibilities for creators, composers, artists and developers

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Why I still root for my former employer Live Nation Entertainment As of September 2024, Live Nation Entertainment holds a market valuation of approximately $24.63 billion. The company continues to lead the global live entertainment industry, securing its dominant position in the market despite recent fluctuations. This valuation marks a solid recovery from 2022 when Live Nation experienced a significant dip in its market cap, which dropped to $13.30 billion after the pandemic caused disruptions in live events. However, the company has since bounced back, showing a year-over-year increase of about 27% in 2023 and continuing its upward trend. Live Nation's competitors, such as AEG Presents and smaller regional promoters, struggle to match its global scale and resources. Live Nation's vertical integration—from ticketing via Ticketmaster to venue operations—allows it to capture more value from live events compared to its rivals. Additionally, the company has seen a 34% increase in stock price over the last 52 weeks, reflecting investors' confidence in the sustained demand for live entertainment post-pandemic. Financially, Live Nation reported revenue of $23.81 billion in the last 12 months, with a net income of $255.69 million. Its gross profit stands at $5.75 billion, demonstrating a 24% gross margin. However, its debt remains a concern, with total liabilities of $19.9 billion slightly outstripping assets valued at $20.5 billion. This reflects a high debt-to-equity ratio, though the company's cash flow and profitability indicate it is well-positioned to manage its obligations as the live events industry continues to grow. While Live Nation remains the industry leader, it faces ongoing scrutiny and competition, particularly as the regulatory environment around ticketing practices tightens. Nevertheless, the company's strong market presence, bolstered by key acquisitions and a robust pipeline of major tours and festivals, positions it to maintain its competitive edge moving forward.

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PARTYNEXTDOOR'S manager Tyler Henry recently shared gems on working PND, OVO, & more. Here are 5 of my favorite takeaways: 1) How you do anything is how you do everything Tyler shares the story of how he got his start in the music industry while in college in California. One of his first opportunities was a result of connecting with Drake's tour manager Jamilio who asked Tyler for help working a party. Tyler took the job incredibly seriously and came with a team of people that were super on point: •Tyler & his team showed up early •Each person had an assigned role  •Everyone wore black outfits as a uniform Tyler treated it like the Super Bowl - Jamilio saw his execution and precision which led to more opportunities. How you do anything is how you do everything. 2) Preparation is key Tyler talks about wanting to understand who the key players were that worked with the artists he was either currently working with or wanted to work with. He made a spreadsheet of artist and manager contacts to help understand who everyone was, capitalize on opportunities, and meet as many people as possible. That preparation and understanding of who the key players were allowed him to recognize folks in person and capitalize on what would otherwise be small moments. For ex: while waiting in line for the bathroom, he recognized an agent from the spreadsheet he made and initiated a conversation that made a last impression. Tyler also talks about being asked to help tour manage a show on the West Coast one year. Tyler knew that show was 1 of 5 and instead of just packing a bag for that one show, he packed a bag for all 5 just in case he got asked to stay on. Preparation met opportunity when he was asked to stay on for all 5 shows and after being able to because he was prepared, that was how he met PARTYNEXTDOOR. 3) Opportunities create momentum One of the biggest takeaways from Tyler's story is how moments and opportunities snowball - there is momentum in capitalizing on opportunities as doors continue opening from one thing to the next. Doing a great job in one moment can help open the next door. 4) Hard work is necessary Tyler tells the story of how when PARTYNEXTDOOR went on his first tour with Drake, he didn't get caught up in the nightlife or partying. Every night after the show, he would work on music with a small handheld mic and continue to perfect his craft. That dedication helped Party make some of the music that eventually catapalted his career. 5) Understanding your artist Part of being a great manager is understanding your artist and the fact that every artist has their own nuance. What works for 1 artist might not work for another one in terms of strategy, opportunities, workflow, and work style. It's important to understand your artist and tailor to their specific needs. Subscribe to my newsletter for more info: https://lnkd.in/eReqf9hp

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Since merging with Ticketmaster in 2010, Live Nation Entertainment has exploded in growth—from a $2 billion market cap to over $25 billion today. CEO Michael Rapino has led the charge, reshaping the live music industry. Let’s look at how they got here: Vertical Integration: They control everything—tickets, promotion, artist management, and venues—allowing them to dominate the live music ecosystem. Global Expansion: By acquiring promoters and venues worldwide, they’ve locked in exclusive deals, now dominating concerts and festivals globally. The Shift to Live Experiences: As streaming income dropped, artists turned to touring for revenue, making Live Nation essential for big-name acts. Sponsorship & Advertising: VIP packages and brand partnerships have helped fuel growth beyond ticket sales. But their rise hasn’t been without controversy. Concerns have grown over monopolistic control, especially regarding ticket prices and competition. As more artists face challenges selling out their tours, it’ll be interesting to see how Live Nation navigates this potential issue. For more on Michael Rapino and Live Nation Entertainment, subscribe to my free newsletter, "The Bag" at www.newbagdrops.com

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Big congrats to Felix & Paul Studios for embarking on what will undoubtedly be a groundbreaking experience coming to AREA15 next year. “Interstellar Arc” adds a truly AAA experience to Area 15’s offerings, and to the entire landscape of “immersive experiences”. Meow Wolf’s Omega Mart will have a stunning and complimentary neighbor that will help to elevate the entire industry’s quality of standard. As is the case with most emerging industries and emerging forms, there’s always an awkward first phase where low-quality copycats and quick money-grabs can take advantage of a general audience’s rabid appetite and lack of learned discernment. Though such efforts bring some amount of short-term fuel to an industry, it ultimately dilutes the promise of emerging forms, confuses and disappoints consumers, and threatens the long-term success of the entire ecosystem. High-quality matters, and is worth paying for, and that’s why I’m so psyched for what Felix & Paul + A15 are courageously bringing to Vegas. The potential for “Hyper-Reality” aka LBE VR has still only barely been tapped. The opportunity to truly transport people into fully animated and realized worlds that are anchored to physical sculpture is incredibly exciting. Can’t wait to experience Interstellar Arc in 2025! https://lnkd.in/gpNbqSVG

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Hollywood Betting Big on Genre Films: AFM’s Vegas Move Signals Shift in the Independent Film Market For the first time in its 45-year history, the American Film Market (AFM) has traded the coastal ambiance of Santa Monica for the glitzy setting of Las Vegas, launching its 2024 event at the Palms Casino Resort. This relocation comes with high hopes for streamlined networking, concentrated events, and fresh energy—but also a dose of skepticism as the independent film market continues to erode. With a notable focus on genre films, the independent film industry is gathering to confront market challenges in a bold new setting. A New Venue and New Energy Relocating from Los Angeles, where AFM was a fixture for over four decades, the Las Vegas setting promises to bring renewed energy to the market. At the Palms Casino Resort, all activities—from screenings to panels to networking events—are conveniently held under one roof, a feature set to alleviate some of the logistical challenges of prior years. By consolidating everything into one venue, AFM aims to foster a community atmosphere, allowing filmmakers, distributors, and buyers to maximize their time without shuttling across various locations. The all-in-one setup at the Palms is already a draw for industry heavyweights. With 286 sales, production, and distribution companies registered, including significant players, AFM sees increased interest from international representatives spanning 80 countries. European delegates from Italy, France, and Germany are attending in solid numbers, underscoring the global appeal of AFM’s new setting. The Rise of Genre Films Amid Uncertain Markets In an industry facing unpredictable returns from theatrical releases, genre films have emerged as a key investment focus at this year’s AFM. Genre films, especially horror and action, command significant buyer interest due to their strong built-in audiences and relatively lower risk. The recent success of horror films like Longlegs and Terrifier 3 has reinforced this trend, with AFM showcasing an impressive slate of horror and action offerings. Projects generating buzz include George A. Romero’s final zombie movie, Twilight of the Dead, directed by Brad Anderson, and the psychological thriller Victoria Psycho, which reunites Sanctuary star Margaret Qualley with director Zachary Wigon. Action films are also gaining traction, with high-profile offerings such as Cleaner, featuring Daisy Ridley in a Die Hard-style thriller, and The Last Druid, a sword-and-sandals epic led by Russell Crowe.

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