BUT IT'S JUST INTERNET:
How the value of "online only" has evolved
(VP Clearance, Kobalt)
Josh Briggs (Terrorbird Media)
Netflix just ended HBO's 17-year streak for most Emmy nominations and is home to pop cultural phenomena like Stranger Things, To All The Boys I've Loved Before, and 13 Reasons Why. Facebook - with an active user base of one third of the world's population and $50 billion in annual ad revenue - is now in the content production business. They're both looking to avoid paying performance royalties. Twitter, Instagram, Snapchat, Hulu, Amazon Prime and more can target commercials to hyper-targeted demographics, maximizing a brand's ability to sell product. Charter, Comcast, and AT&T DirecTV lost more than 400,000 subscribers to streaming in 1Q2018 alone.
With streaming services dominating the global landscape, can licensees still sell below average fees and backend overreach with the caveat that the Media is "just internet?" What transitional challenges (and opportunities) are music supervisors faced with in the continually expanding digital spheres of branded content and series programming.
TYPE: Moderated Panel Discussion
ROOM: TAPER HALL 202
TIME: 5:00pm - 5:50pm
Brienne Rose is a Los Angeles based music supervisor, whose undeniable passion for music and its power to transform picture drive her ability to craft uniquely curated soundtracks for every project. She launched her company, Noise/Racket, in 2009 and has since collaborated on a diverse list of acclaimed projects, culminating recently with Vice magazine calling her "one of the hottest up-and-coming music supervisors in Hollywood today". At present, Brienne is the supervisor on the critically acclaimed TV shows SEARCH PARTY (TBS) and VIDA (STARZ), along with upcoming series for Netflix, Comedy Central, and the Facebook network. She has supervised over 25 films, including upcoming 2018 projects SUMMER '03 and FAMILY, indie classics (DREAMLAND, BEFORE I DISAPPEAR), award-winning documentaries (TWINSTERS), and the Academy Award winning short film, CURFEW. She has also worked on various national commercial campaigns; selecting, licensing and producing music for brands such as Spotify, Squarespace, Hershey's and Google.
Rob Christensen is Vice President, Clearance and Synch Licensing Administration with Kobalt Music | AWAL. He oversees the synch clearance and licensing administration teams domestically, as well as plays a key role in the organization’s global synch strategic development, process implementation and reporting. Starting with Kobalt in August of 2017, Rob has played an integral role in the scaling of the Kobalt & AWAL businesses as the organizations continue to grow rapidly, including doubling the size of the clearance and admin team over the last year. Prior to Kobalt, Rob spent six years at BMG, including co-overseeing the Film & TV Licensing department from 2013-2017. He started his music career with Bug Music in early 2010 and transitioned to BMG when Bug was acquired in 2011. He is a native of Sioux Falls, SD and spent several years in the Pacific Northwest before relocating to Los Angeles in 2009.
(VP Clearance and Synch Licensing Administration, Kobalt Music | AWAL)
A Los Angeles native, Tiffany Anders grew up with a lust for music, seeking out bands and attending live shows at a very early age. Her young enthusiasm eventually led her to a recording career of her own, singing backup at the age of 17 on Dinosaur Jr.’s album Where You Been, submitting a song for the heralded soundtrack to Allison Anders’ 1996 female singer-songwriter pop narrative Grace Of My Heart (for which she was also a music consultant), and cutting her 2001 solo debut album, Funny Cry Happy Gift, which was produced by rock icon PJ Harvey and released to critical acclaim. As a music supervisor, she’s worked on such films as Drake Doremus’ Like Crazy, Breathe In and Equals, Michael James Johnson’s All The Wilderness, Malik Vitthal’s Imperial Dreams, Ry Russo Young’s Nobody Walks, and James Ponsoldt’s films Smashed, The End of the Tour and The Circle, as well as the critically acclaimed FXX television series You’re The Worst and the period piece Everything Sucks! for Netflix. She is one of the founders and head curators of Los Angeles’ annual Don’t Knock The Rock film festival and has contributed over 500 album reviews for the largest independent record store in America, Amoeba Music. She has also contributed in-depth liner notes for the revered reissue record label Rev-Ola, for which she’s conducted interviews with Tommy James, Sweetwater, and F.J. McMahon.
Josh Briggs is General Manager, West Coast of Terrorbird Media and Head of Terrorbird Publishing, an independent music publisher & music marketing company with offices in LA, Brooklyn & Sacramento. Forever a fan of independent music, Josh believes that dedication – in equal measures – to your art, your craft, your business, and your fellow humans can sustain an artist's career for a lifetime. A journey that started with playing punk rock and doing college radio led through the rough terrain of major label A&R before turning back toward greener pastures, helping songwriters find their footing as Director of Membership at ASCAP. It was there that Josh met his sisters-in-arms at Terrorbird, and was brought on to lead the fledgling publishing department. There, he's had the good fortune to sign and work with some of his all-time favorite artists & writers like Bikini Kill, The Bouncing Souls, Chastity Belt, WHY?, Trampled By Turtles, and Zola Jesus. Once upon a time, Josh was named to Billboard's "30 Under 30," and nearly finished a 12 scoop / 6 topping ice cream sundae (not simultaneously, but he's equally proud of both).