Kami Knake

Today's Glossary term is, "5 LPMs".  Check out more of Greg Dean's Stand Up Comedy Glossary! https://lnkd.in/gssNRcdp

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Music Videos? Do you watch them? This article discusses whether it makes sense for artists to still create them... If you're a big artist, Yes, you absolutely should. Otherwise, I would let the streams lead and take it from there. If they pop off like Dasha's "Austin", then go make that video and get those YouTube Streaming Dollas!

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Gibson Trini Lopez Standard In rapid succession between 1960 and 1962 Ted McCarty signed Johnny Smith, Barney Kessel, and Tal Farlow as Gibson signature artists.. The last in Ted McCarty’s artists “gets” of the early 1960s was Trini Lopez.  Those three guys had some pretty cool jazz boxes and in 1964  it was Trini’s turn… sort of. While Ted did a great job landing signature artists, there is some debate as to whether or not any of these guys had much more than aesthetic input on their namesake models.   For example, Trini actually had two signature models, the Standard and Deluxe. The Deluxe was the same body style as Barney Kessel’s, and it’s written that Kessel was presented with the body style as opposed to helping design it. He was rarely seen playing it. Trini’s Gibson Standard is basically an ES-335 with diamond sound holes instead of f-holes. Matching the sound holes were the split diamond fret inlays, a first for Gibson. Perhaps of most interest however, is the non-reverse Firebird headstock which predated the non-reverse Firebird by about six months.  Could it have been that Gibson tested the non-reverse headstock on Trini’s Standard to gauge interest? Or was the headstock idea already on the drawing board and it was purely an aesthetic move to separate the Standard from the 335? Who knows? Either way, Gibson made the right move as the Trini Standard outsold his brethren’s models 2 to 1 for the remainder of the decade.  And Gibson wasn’t done getting mileage out of this classic model because where there’s Grohl, there’s gold. Or at least there’s a DG-335. Fifty years later Gibson introduced Dave Grohl’s signature guitar based on this model, adding another new cool factor to the evergreen 335 style. Original Trini Lopez Standard specs (1964-1970): Laminated maple body Mahogany neck Rosewood fretboard Gibson Patent Number pickups followed by T-Tops  Two volume and two tone controls 3-way selector Trini Lopez trapeze tailpiece David Still #guitar #guitars #freternity 20 G.A.S. days to Christmas

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Does having labels, publishers, and industry infrastructure mean a thriving music community? Not necessarily. Music census data from cities across the U.S. highlight a key insight: retaining creative spend locally is critical to building resilient music ecosystems. Whether a city has traditional industry infrastructure or not, fostering local collaboration and services makes all the difference. Here’s the data: Austin & Minneapolis: Both cities retain 60% of creative spend locally, showing the power of collaborative networks. Nashville: Despite its robust industry, only 52% of creative spend stays local, emphasizing the need for accessible, affordable local services. Cleveland: Retains 55% of creative spend locally, a testament to its balanced ecosystem of creatives, venues, and industry professionals. New Orleans: 54% of creative spend stays local, reflecting its deep-rooted culture but also the challenges of navigating rising costs and limited infrastructure. Lawrence, KS: Retains 57%, boosted by its strong DIY and grassroots ethos. Greensboro, NC: Retains 46%, driven by a strong community. Tulsa: 56% of creative spend stays local, showing the value of local collaboration. Columbus, OH: Retains 53%, demonstrating its potential to grow through more investment in local industry services. Washington, DC: Retains 54%, where creatives rely on community-driven solutions in the absence of robust traditional infrastructure. Anchorage: Retains 52%, reflecting the growing potential of its emerging ecosystem. Sacramento: Retains 50%, showing room for growth as the city works to build its creative economy. Chattanooga: Retains 45%, highlighting a need for stronger local services to keep creative dollars circulating within the community. NW Arkansas: Retains 43%, indicating opportunities to develop local resources and better capture creative economic impact. What does this mean? Even in cities with strong industry infrastructure, creatives often turn to external services, leading to lost local economic opportunities. Meanwhile, cities with smaller infrastructures but strong local networks prove that fostering collaboration, affordable services, and accessible resources drives better retention. The takeaway? A thriving music ecosystem isn’t just about traditional infrastructure—it’s about ensuring that creatives can invest back into their local communities. Supporting local services not only keeps the money circulating locally but also strengthens the cultural fabric of the city. What’s your city doing to retain creative spend locally? Let’s talk about it in the comments! #MusicCensus #CreativeEconomy #LocalSpend #MusicPolicy #NashvilleMusic #AustinMusic #MinneapolisMusic #ClevelandMusic #NewOrleansMusic #LawrenceMusic #GreensboroMusic #TulsaMusic #ColumbusMusic #DCMusic #AnchorageMusic #SacramentoMusic #ChattanoogaMusic #NWArkansasMusic

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

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Do you have music that could fit these new sync opportunities this week? Currently, we have 90+ active briefs worth more than $295k in sync fees. Here are four new placement opportunities available this week... ● Animated Comedy Series Needs Jazz ($3800 sync fee) ● Mobile Puzzle Game Needs Alt Pop Track ($3400 sync fee) ● Podcast Needs Classic 8-bit Music ($2200 sync fee) ● Fashion Brand Needs 90s R&B ($6500 sync fee) To read the 𝗳𝘂𝗹𝗹 𝗱𝗲𝘁𝗮𝗶𝗹𝘀 for these briefs and submit your music that best match, follow the 𝗹𝗶𝗻𝗸 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀. Why join? It's only $𝟱 𝗽𝗲𝗿 𝗺𝗼𝗻𝘁𝗵 for 𝗦𝘁𝗮𝗻𝗱𝗮𝗿𝗱 and $𝟭𝟬 𝗽𝗲𝗿 𝗺𝗼𝗻𝘁𝗵 for 𝗣𝗿𝗼.  This keeps placement opportunities more exclusive to members. It also helps support the work required to get new placement details for you each week, review all the submissions, send the client potential music to consider then finally connect you directly with the client if / when your music has been selected. 𝗨𝗻𝗹𝗶𝗺𝗶𝘁𝗲𝗱 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 of your music to each brief. 𝗡𝗲𝘄 𝗽𝗹𝗮𝗰𝗲𝗺𝗲𝗻𝘁 𝗼𝗽𝗽𝗼𝗿𝘁𝘂𝗻𝗶𝘁𝗶𝗲𝘀 𝘄𝗲𝗲𝗸𝗹𝘆. You will have access to multiple new placement opportunities each week. Our goal is to add 10 or more new opportunities every week. 𝗞𝗲𝗲𝗽 𝟭𝟬𝟬% 𝗼𝗳 𝘆𝗼𝘂𝗿 𝗿𝗶𝗴𝗵𝘁𝘀 𝗮𝗻𝗱 𝘀𝘆𝗻𝗰 𝗳𝗲𝗲𝘀. If your music is selected for a placement you keep all the rights you own and the sync fee available for that opportunity. 𝗜𝗺𝗽𝗼𝗿𝘁𝗮𝗻𝘁: Submitting your music to any opportunity or joining the Sync Opps. Patreon channel does not guarantee a placement for your music. *Link in the comments to join! #music #placement #sync

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 12/1/24: A Martian who landed in L.A. Thanksgiving weekend would likely be texting home that theatrical exhibition is an amazing business and he wants to buy some cinemas if he can pay with Bitcoins.   With the five day holiday boxoffice hitting a massive estimated $420M, per Comscore, it's easy to see why the Martian and everyone else knows moviegoing isn't dead. Of course, had our Martian had a faster spaceship and landed in mid-October, he'd have seen empty multiplexes and would be excited about going into streaming.   The real difference between JOKER 2's implosion in October and today's sizzling boxoffice is that the studios are now playing films moviegoers want to see. The resulting ticket sales should be giving Wall Street second thoughts about having pushed Hollywood to abandon exhibition and undertake the crushing costs of streaming.   Driven by MOANA 2, WICKED & GLADIATOR II, this weekend's domestic marketplace totaled $271.1M for three days, per Comscore Senior Media Analyst Paul Dergarabedian, up 32.4% from the prior weekend and up 176% vs. this time last year. Comscore's year to date tally has 2024 at $7.78B, down 6.4% from $8.31B in 2023. The previous weekend in 2024 was down 10.7% vs. 2023.   Meanwhile, back at the multiplexes: Disney's PG animated comedy adventure MOANA 2 sailed into 4,200 theatres with $135.5M for three days ($32,262) and $221M for five days, per Comscore. Hollywood buzz-ards were projecting not so long ago just $100M for three days & $135M for five days! The sequel, which delivered the all-time biggest five day launch, did $165.3M internationally and has a worldwide cume of $388.3M. M2 started out to be a Disney+ series but became a theatrical feature instead when research pointed to boxoffice potential.    M2's tracking best for first choice with under 25 women (21 points over norm) and next best with women over 25 (11 points over norm). Rotten Tomatoes critics don't like it at 65%, but audiences are happier at 87%.   Universal/Marc Platt Productions' PG fantasy musical romance WICKED was #2 in weekend 2 with $80M for three days (29%) at 3,888 theatres ($20,576). The Jon M. Chu film reportedly cost $150M to produce and has done $262.4M domestic and $359.3M worldwide. WICKED 2, also budgeted at $150M, will be in theatres for Thanksgiving 2025.   Paramount/Scott Free Productions' R rated historical action adventure GLADIATOR II was third in weekend two with $30.7M (-44%) for three days at 3,580 theatres ($8,575). The Ridley Scott sequel reportedly cost $250M to produce and has done $111.2M domestic and $320M worldwide.   Next weekend (12/6): No big studio releases are opening, but holdover business for MOANA 2, WICKED & GLADIATOR II should keep the multiplexes humming.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #wicked #gladiator2 #moana2                                    

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The Art of the "One Sheet" in Sync Licensing Your 'One Sheet' (or music reel, EPK, Etc) is more than just a summary—it's your elevator pitch. It’s the first impression you make on music supervisors and sync agents, so it needs to be sharp, concise, and appealing. But here’s the catch—don’t just share your achievements; showcase your best music, your unique sound, and the genres you excel in. The goal is to make them hear your music before they even press play. I use DISCO to showcase music, create playlists, create an EPK, and catalog my music. Question: What’s the most important element you include in your One Sheet / EPK to make you stand out?

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 5/12/24: APES climbed atop the boxoffice chart with $56.5M, giving exhibitors new hope after a grim winter and spring.   While KINGDOM OF THE PLANET OF THE APES' opening doesn't come close to 2014's DAWN OF THE PLANET OF THE APES, which kicked off to $72.6M and did $710.6M worldwide, times have changed and those good old days may be gone forever. Nonetheless, KINGDOM's launch is in the ballpark compared to 2011's RISE OF THE PLANET OF THE APES ($54.8M) and 2017's WAR FOR THE PLANET OF THE APES ($56.3M).   Driven by KINGDOM, the overall marketplace, per Comscore Senior Media Analyst Paul Dergarabedian, totaled $94.4M, up 26.4% from the prior weekend, but down 9% vs. this time last year. Comscore's year to date tally has 2024 at $2.29B, down 22% from $2.93B in 2023. Last weekend 2024 was down 21% vs. 2023.   Meanwhile, back at the multiplexes: Disney/20th Century's PG-13 sci-fi action adventure KINGDOM earned its $56.5M at 4,075 theatres ($13,865). Internationally, it opened to $72.5M, per Comscore, bringing its worldwide total to $129M.   KINGDOM reportedly cost $160M to produce -- but that money's all on the screen as there aren't any $20M stars in the movie! Hollywood handicappers were bullish on KINGDOM from the start with $50-60M estimates.   Going into this weekend, KINGDOM was tracking best for first choice with men over 25 (10 points over norm) and next best with men under 25 (six points over norm). Women under 25 were okay with five points over norm. Women over 25 were the least likely to be going with three points over norm. Rotten Tomatoes critics are happy at 81% while audiences are just okay at 78%.   Universal/87 North's PG-13 action dramedy THE FALL GUY, directed by David Leitch (JOHN WICK) and starring Ryan Gosling & Emily Blunt, fell to second place in weekend two with $13.7M (-51%) at 4,008 theatres ($3,418). It's done $49.7M domestic and $103.7M worldwide. FALL  reportedly cost $130M after Australia tax credits.   MGM/Amazon's CHALLENGERS held on to third place in weekend three with $4.7M (-38%) at 2,609 theatres ($1,795). It reportedly cost $55M to produce and has done $38.1M domestic and $68.7M worldwide.   As for next weekend's wide releases: Paramount/Maximum Effort's PG rated family dramedy "IF," directed by John Krasinski and starring Ryan Reynolds, should keep the boxoffice sizzling. Media pundits expect $45-55M at about 3,900 theatres.   It's tracking best and equally well for first choice with women under & over 25 (each nine points over norm) and next best with men under 25 (six points over norm). Men over 25 are the least excited (two points over norm).   Lionsgate's R rated horror thriller "THE STRANGERS: CHAPTER 1," opening at about 2,800 theatres, is tracking best with men under & over 25, but just equal to norm. It's below norm with men & women under 25. Some more exuberant analysts see it opening to $15-20M.   #movies #boxoffice #martingrove #kingdom            

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Have you submitted music to these sync opportunities expiring soon? We have five placement opportunities expiring this week through next. There is still time to submit any music you might have that is a good fit. Reminder, submission cut-off time is 11:59pm CT for all deadline dates. ● Cleaning Product Needs Alt Pop ($5700 sync fee) expires: 08/07/2024. ● Arcade-Style Shooter Needs Metal Track ($4800 sync fee) expires: 08/09/2024. ● Drama Series Needs Folk Pop ($3700 sync fee) expires: 08/09/2024.  ● Smart Office Device Needs Classic Jazz ($5400 sync fee) expires: 08/12/2024. ● RPG Fantasy Needs Electro-Pop ($5200 sync fee) expires: 08/13/2024. To read the 𝗳𝘂𝗹𝗹 𝗱𝗲𝘁𝗮𝗶𝗹𝘀 for these briefs and submit your music that best match, follow the 𝗹𝗶𝗻𝗸 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀. Why join? It's only $𝟱 𝗽𝗲𝗿 𝗺𝗼𝗻𝘁𝗵 for 𝗦𝘁𝗮𝗻𝗱𝗮𝗿𝗱 and $𝟭𝟬 𝗽𝗲𝗿 𝗺𝗼𝗻𝘁𝗵 for 𝗣𝗿𝗼.  This keeps placement opportunities more exclusive to members. It also helps support the work required to get new placement details for you each week, review all the submissions, send the client potential music to consider then finally connect you directly with the client if / when your music has been selected. 𝗨𝗻𝗹𝗶𝗺𝗶𝘁𝗲𝗱 𝘀𝘂𝗯𝗺𝗶𝘀𝘀𝗶𝗼𝗻𝘀 of your music to each brief. 𝗡𝗲𝘄 𝗽𝗹𝗮𝗰𝗲𝗺𝗲𝗻𝘁 𝗼𝗽𝗽𝗼𝗿𝘁𝘂𝗻𝗶𝘁𝗶𝗲𝘀 𝘄𝗲𝗲𝗸𝗹𝘆. You will have access to multiple new placement opportunities each week. Our goal is to add 10 or more new opportunities every week. 𝗞𝗲𝗲𝗽 𝟭𝟬𝟬% 𝗼𝗳 𝘆𝗼𝘂𝗿 𝗿𝗶𝗴𝗵𝘁𝘀 𝗮𝗻𝗱 𝘀𝘆𝗻𝗰 𝗳𝗲𝗲𝘀. If your music is selected for a placement you keep all the rights you own and the sync fee available for that opportunity. 𝗜𝗺𝗽𝗼𝗿𝘁𝗮𝗻𝘁: Submitting your music to any opportunity or joining the Sync Opps. Patreon channel does not guarantee a placement for your music. *Link in the comments to join! #music #placement #sync

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NotebookLM is undeniably fascinating—exciting, unsettling, and eerie. Should podcasters worry about Google's AI NotebookLM? I tried it. #podcasting #NotebookLM #deepdives #AIaudio #audiooverview https://bit.ly/48qeyB3

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Why choose a VO vendor over AI voices? Simply put — the stigma of AI could negatively affect sales, public perception, and trust in your company. We at LemonToast Media Group offer affordable voiceover that makes you stand out. We help connect brands, local businesses, game developers and more to professional voiceover talent from all over the world. Reach out to see how authentic voiceover can help your brand reach new audiences. [email protected] #voiceover #voiceacting #VO #AI #advertisements #ads #business #narration

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