Senderoff landed in the music industry after nearly a decade as a film executive at The Mark Gordon Company, where she partnered with Gordon on the online recruitment platform Intern Sushi. When record labels swarmed Intern Sushi, Senderoff realized that her knack for leveraging data and technology to tell stories in film could be applied to music.
has worked with Audigent for the last couple of years to build out revenue lines from music to brand partnerships to merch [using] precision targeting to find his fans [with ads]. Community might be used on the front end to make an initial announcement, but then Audigent might be used every day as an ongoing campaign to promote everything.from absolutely nothing. There’s almost nothing he hasn’t done or worked on. When you’ve encountered it all, you know what to do.
One area ripe for the addition of metaverse capabilities is touring. We need to add the ability for fans to collect [digital] items that are tied to particular shows and allow access to different items based on your [level of ] fandom. The next version of the fan club is immersive, where fans can take part and connect to an artist via a social token — by owning it, they can buy tickets sooner or get into meet-and-greets or access limited-edition merch.
I just saw [Mark] Zuckerberg announce that Facebook is going to be a metaverse company. I think we’re two to three years away from the larger, visible use cases. That will begin with the rise of [augmented reality] in the next 18 months and seeing more utility of NFTs — assets that can be the economic drivers of a metaverse. In order to have a virtual world, you need buy-in of virtual products.The technology — the pipes of blockchain — is fundamentally different. This is not just an app.
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Source: Variety - 🏆 108. / 63 Read more »