What is this project about?
“My Music My Dream – A young musician’s life IS a reality show” will be a musical competition “reality” television series about the selection of, and contests between, an international group of young professional musicians for a place in a newly-created musical group for the opportunity of a lifetime. These young professionals, chosen through heavy online fan involvement, will be semi-secluded in beautiful Costa Rica for much of the series. They will be visited by several celebrity mentors while living in a private compound, doing one-off occasional local nightclub performances, and composing music in beautiful indoor and outdoor settings.
To be quite frank, a serious young professional musician’s life, with the all-consuming demands of studying theory, mastering musical styles, group/solo instrumental practice, and strong self-criticism is a reality show in and of itself. We will seek the absolute best in international young adult musical talent with strong personalities (some “divas” allowed for drama of course!) to be our competitors.
Using intense social media marketing we will issue a global online “open call” to young professional musicians under the age of 30 to submit self-produced audition videos. From that video audition submission pool there will be a number of highly talented and self-motivated musicians, chosen by online votes and the producers, to travel to a semi-secluded private Costa Rica compound. While in Costa Rica our musicians will be filmed overcoming language barriers and cultural differences to form musical and personal alliances. Young professional musicians already realize being in a band is very much like being in a marriage and will be forced to deal with the above challenges in creative and interesting ways.
The young musicians (aka “talent”) will be tasked with learning many Afro-Cuban and African-American musical styles in order to create music that will have popular appeal and allow for deep musical prowess. The newly created music will draw primarily from Hip Hop, R&B, Jazz, Afro-Cuban, Afro-Beat and Reggeaton styles and evolve with the group's creative composition and performances.
Talent will be chosen from self-created online video submissions to our website. Our social media marketing campaign will; 1) inform the global pool of young musicians about this opportunity and, 2) using various methods to begin generating online “heat” and build an international fan base. Online fans will be mildly encouraged to “root” for talent from their own region/nation, and then for whomever makes the trip to Costa Rica. The final group will be chosen from this talent pool by fan online involvement, mentor preferences and the Producers.
The new band will then relocate for a short intense rehearsal period, then quickly appear in a filmed debut concert in a to-be-determined major international city. Some of the celebrity mentors will appear with them, and the concert will be widely distributed (dependent on which company picks us up, perhaps by global pay-per-view) either by broadcast, sat/cablecast and/or online.
Musical competition-based reality shows have been around for quite some time and have been replicated in differing cultures worldwide. We believe our unique approach will generate a huge international fan base demanding our show be produced. Once we attain over 100,000 thoroughly verified online fans we will shop, through our legal team, our concept/”package” for sale to Netflix, Amazon, Hulu streaming services, US, EU and Asian TV networks and various satellite/cable companies worldwide.
We are seeking Equity Partners (“EPs”) to invest in the initial stage completion (“development”) of this unique reality television series that will have considerable international appeal. We will use these development funds to create a directed social media campaign, to make a “package” of a verified >100,000 online fan base, >1000 artist submissions and a number of interested major stars for presentation to the above networks and streaming services. The package will then be either sold outright, or be “green-lighted” and provided with a production budget and full production funding.
What is the current state of the music and TV industries?
Applied to the music industry, this question is best answered by two quotes: "Back in the day there were 100 bands making a million dollars. Now, there's a million bands making $100." -Harvey Mason (multi-platinum/Grammy winning session drummer, composer, producer), and "Music washes the dust of everyday life from people's souls" -Art Blakey (progenitor of modern drumming, longtime bandleader discovering the Marsalis Brothers, Wayne Shorter, many others).
Due to computer technology it's now possible to record a full "album" of music for a fraction of what an album would cost even 10 years ago. The democratization of music production has flooded the market with thousands of releases every quarter. The resulting music tsunami presents problems of "cutting through the noise" (i.e. poorly-recorded/written/performed music) and acquiring fans and followers. YouTube has somewhat corrected this problem, but again, that site has hundreds of thousands of band videos. Established and new "independent" artists compete for the same page hits and streams.
(note: Current statutory payments for streaming content is infinitesimal at best. The song "Gangnam Style" has well over 1 billion hits/views. But at the statutory rate of $0.0008 that 1 billion hits amounted to $8 million of revenue to the artist PSY and his partners. Taylor Swift, Jay-Z and many other top artists have complained about the ultra-low payment rate. Live performances remain the largest portion of any artist's gross income)
More pertinent to this project are several quotes from The Wall Street Journal's 10/19/2017 Life&Arts full-page article "The Pop Diva Identity Crisis" (page 11):
"In July (2017), R&B surpassed rock for the first time to officially become the biggest music genre in America, according to Nielsen Music, which tracks online streams and digital and physical albums. As of Oct. 12, R&B/hip-hop has driven 24% of music consumption in 2017-more than rock's 21% and double pop's 12% share.
"Five of the 10 songs to hit no. 1 on the singles chart this year have been rap, the most ever, Billboard (magazine) notes. The other five include one R&B, one Latin and two male pop songs. The only female pop single to hit no. 1 was Taylor Swift's "Look what You Made Me Do".
"Historically, the core of the pop-diva audience has been teen girls. Experts say these same fans aren't as interested in the staged artificial personas of many pop stars such as Lady Gaga. They are now interested in hip-hop where lyrics are more direct and true to life. "It's the era of authenticity," says Peter Edge, chairman of chief executive of RCA Records, which represents Kesha, Miley Cyrus and SZA. "What are you really going through? What do you really think? How much are really speaking to what's going on with you?"
"Joya Syed, 18, a sophomore at Bard College, grew up listening to pop stars such as Taylor Swift. But she recently got into R&B/hip-hop artists like Kehlani, Cardi B., Rihanna and Beyonce'. They talk about relationships with maturity and are proud of their backgrounds, she says. "It's more realistic".
This article also mentions the change in pop music tastes has forced a change within the music industry. Following below is a quote from Craig Marks, editorial director at Townsquare Media, which owns over 300 U.S. radio stations.
"With young streaming subscribers bypassing female pop acts in favor of hip-hop and R&B, A&R (Artists and Repetoire) execs are combing SoundCloud looking for the next Drake or Kendrick, rather than the next Taylor".
Soundcloud has tens, of not, hundreds of thousands of tracks of widely varying quality from all levels of hip-hop and R&B independent artists. In order to literally stand out from the huge crowd, an authentic "gimmick" such as high musical prowess from young professional musicians, is an absolute must. But undiscovered great talent alone remains obscure in a super-crowded field.
Without a well-funded ad campaign, even the best of new musical artists get lost in the online musical tsunami. Therefore, advertising for new artists becomes crucial in establishing their careers. Television, in all its iterations, remains the most effective means of informing the general public of new artists. Audience sophistication, especially those of our initial target demographic, demands the "advertising" appear as non-TV-commercial as possible. This means using TV appearances the get the word out to the public.
Most new bands just don't have means or knowledge to create and obtain TV exposure to build a fan/follower base.
Having said that, people still need and love music in all its many genres. Below is a list from a recent Billboard Magazine Box Scores, which reports on the highest-grossing live performances of touring musical acts on a weekly basis.
Timbiriche @ Auditorio Nacional, Mexico City; 09/13-17/2017; $3,485,269; 47,812 attendance; 5 shows
Luke Bryan, Brett Eldredge, Craig Campbell @ Citizens Bank Park, Philadelphia; 09/08/2017; $2,743,300; 39,528 attendance; 1 show
Alejandro Fernandez @ Auditorio Nacional, Mexico City; 09/07-09/2017; $2,326,869; 28,830 attendance; 3 shows
J. Cole, Anderson Paak, Bas, J.I.D., Ari Lennox @ Barclay's Center, Brooklyn NY; 08/01-02/2017; $2,122,600; 26,984 attendance, 2 shows
Ariana Grande, Victoria Monet @ Plaicio de los Deportes, Mexico City; 07/12-13/2017; $2,078,842; 26,984 attendance, 2 shows
J. Cole, Anderson Paak, Bas, J.I.D., Ari Lennox @ Air Canada Centre, Toronto, Ontario; 07/28-29/2017; $1,936,090; 30,521, 2 shows
While the above are established artists for the most part, the opening acts also receive a considerable percentage of gross concert receipts. In addition, in times of economic stress and strife the human response is to escape into entertainment, especially live entertainment. It should be noted that the highest-grossing concert was in Mexico City with a "Latino" act. With the exception of one country concert, all the top-grossing acts performed music derived from Afro-Cuban and African-American music styles. Which are the exact same styles our group will perform.
The TV industry has been atomized by the same computer technology that drastically affected and changed the music industry. Excerpts from a Forbes.com article posted on May 3, 2013 ("Households with broadband Internet access are increasingly piping Internet video to their TV sets, through a variety of devices" -Dan Mitchell) accurately predicts the current state of TV consumption in most countries.
"We can examine the strategies of Netflix (NFLX, -1.68%) and Comcast (CMCSA, -0.12%) all we like, but the speed at which television moves off of cable and onto the Internet will be determined largely by what people decide to do in their living rooms. Now that they have the hardware and software tools to access TV online — and, of course, lots of videos to watch — all eyes are on home viewers.
More than half of them — 56% of all households with broadband Internet access — now have at least one TV set connected to the Internet, according to a report from Diffusion Group, “Defining the In-Home CE and Network Ecosystem 2013.” About two-thirds of the nation’s homes have broadband.
While viewers use a variety of means to get Internet video from Netflix and other services onto their TV screens, it appears that smart TVs are increasingly in favor, though most people are still porting video content through game consoles like the Xbox 360 (MSFT, -0.36%) , the Sony PS3 (SNE, -0.38%) , and the Nintendo Wii (NTDOY, -1.89%) . About 62% of households own such a device, which are used about a quarter of the time for TV viewing, on average.
But smart TVs are coming on strong, growing faster than dedicated Internet-to-TV devices like Roku or Apple TV (AAPL, +0.26%) . About 14% of broadband households own a dedicated device, while about 25% own a smart TV. Ownership of smart TVs has doubled over the past year, while ownership of dedicated devices grew by only two percentage points. But only about two-thirds of smart TVs are actually connected to the Internet, according to the report.
Another report, this one from NPD Group, found that by next year, all of these means of connecting the Internet to TVs will eclipse connections via Blu-ray players. For now, more people are connected through Blu-rays than through smart TVs, but that’s swiftly changing — another sign of people moving away from movies on discs. The NPD Group report, “Connected Home,” also found that 40% of households with Internet-connected TVs watch videos from Netflix, 17% watch YouTube (GOOG, -0.19%) videos, and 11% watch movies and TV shows via Hulu."
It's well-known that Netflix, Hulu and Amazon are out-performing traditional TV networks and cable/satellite delivery systems due to greatly increased viewer options. Those owning a streaming device (Roku, Apple TV, etc.) know there are many hundreds of on-demand and live streaming channels currently available. The traditional TV delivery systems (networks, cable/satellite) are unable to provide newer genres of content due to being "locked in" by previous contract commitments and no-longer-relevant ratings profiles. Traditional and streaming TV are competing against each other for the most compelling content to maintain and increase viewership.
In 2013, 2/3 of smart TVs were online. With the ensuing skyrocketing sales of smart TV AND video-playback smart phones it is safe to surmise demand for video content has exploded.
But those who present TV productions to the public ("distributors"-TV networks, cable/satellite. Netflix/etc.) constantly require new and compelling content. A great concept may ignite a bidding war between distributors desperate to beat the competition.
And that's where M3D fits right in.
What exactly is “development”?
There are five phases to every motion picture and television production. “Development” entails the original project ideation, research, estimated budgeting, obtaining proper legal documentation and creating a roster of proposed talent and production team. Major studio producers are salaried while independent producers must obtain funding from EPs to complete this initial production phase.
Once sufficient funding is obtained “Pre-Production” begins. An experienced Director, Production Manager and talent/crew contracts are signed, and a production schedule is created. If the production is “on location”, cast and crew travel and accommodations are secured. The production gets its own office and staffing to facilitate operations. Any budget under/over estimate or other discrepancies are corrected at this time.
“Production” is the actual filming (in the case of digital productions “capture”) of the production. In most cases the audio is simultaneously captured on a separate system from the video to insure playback quality.
In “Post-Production” all of the captured audio and video are edited together along with any artwork, sound effects, visual effects, title and subtitling. This is where somewhat seemingly disjointed audio and video come together to become a compelling show everyone wants to see.
The Executive Producer(s) oversee and closely direct every phase of production until final delivery for “Distribution”. A Distributor, either a TV station/network, satellite/cable company, or an online streaming service, provides portals for viewing/streaming consumption by their audiences and subscribers.
How do you plan to implement development?
When the development funds are released they will be deposited into an already established account specifically restricted to underwriting this project overseen by an experienced production accountant.
Development funds will be used for planned contract creation expenses, website creation, development and hosting, legal expenses and fees, producers’ salaries, social media marketing campaign creation to inform potential talent and cultivate the show’s online fan base, and occasional minor office expenses. The package will then be presented by our legal representation to name musical artists for interest-level inclusion. The finalized package will then be presented by our legal representation to potential distributors for project “green-lighting”.
How do you plan to find the necessary talent pool?
One of the first things we will do is quickly work with our site developer, web host and social media marketer (“SMM”) to post the show’s site online as soon as possible to enable acceptance of audition submission videos. These videos will feature artist candidates’ short performances and self-introductions. SMM will vigorously campaign to inform young professional musicians of this opportunity and what we require as a digital audition. Supervised temporary workers will be hired to screen submissions for format.
The artist candidate videos will be posted on our site for public viewing and specific artists’ “followings”.
Fans may judge/rate the submissions per posted criteria and personal preference. We will need to reduce talent finalists to a certain number (<200) and have the fan/followers choose about 30 talent to travel to Costa Rica for the series TV production. The chosen artists will then be placed “on hold” pending our getting a deal or receiving production green lights and budget.
How do you plan to build an audience for this show?
Social media marketing is by far the best way to inform potential fans/viewers about the existence of this project. By using FaceBook, InstaGram, Twitter, etc. our SMM will be able to reach our primary intended audience of global 15-40 year old music fans. Artist candidates will be encouraged to have their online friends help them “win” by following them on our site, and have those friends’ online friends “like” them on our site as well. We intend to “use” talent’s realness to add a solid level of authenticity to our project.
One way to insure the success of our project is to create and maintain a sense of realness throughout this process and avoid any appearances of being “Hollywood fake” to our intended audience.
How will the packaging and approach to distributors work?
We intend to obtain over 100,000 verified online fans/followers thorough our SMM campaign within 6 months of development start. We also intend to get written commitments from chosen internationally popular musical artists who will act as celebrity mentors to our finalists.
Our legal team will present our completed package to various US networks (ABC/Disney, NBC, CBS, Fox), online streaming services Netflix, Amazon and Hulu and international production companies and networks in Canada, the EU and other countries.
If we can present an even larger number of verified fan/followers we may have the fortunate circumstance of entering a major bidding war between distributors for the rights to our production.
What are the Budget Group-Item Explanations?
Briefly, by Account Numbers:
- 1100-Producer’s Unit: 1101 Executive Producer Oversees all development operations for duration of development period, paid weekly, up to 52 weeks. 1102/03 Consulting Producers assist Executive Producer with archival materials, talent screening and final choices, compose original music for talent, continued logistical support and information acquisition, and translation services as needed.
- 2100-Development Unit: 2101-2105 Web Site (self-explanatory). 2106/07 Social Media Marketing Most important development segment. Includes planning and implementation of custom-designed website and roll-out/expanding of SMM campaign for up to 6 months. 2108 Webmaster duties will be to insure a consistently smooth-running 24/7 website past the duration of our SMM. 2109/10 Screeners Established professional/advanced student musicians hired to screen and rate initial talent submission videos (max length 5 minutes each) for proficiency levels and production values (following provided instructions), at a rate of 15 videos an hour (estimating 1000 talent submissions), under direct online supervision.
- 3100-General Expenses: 3101 Placement Legal Fees Our legal team, Blake & Wang (with offices in New York City Los Angeles and Seattle) will be the “point” for generating industry interest and creating the best possible deals for production and distribution of our project. 3102 Consultation & Contracts We will also need custom contracts created and we foresee the need for additional legal consultation as development progresses. 3103 Office Rental There may be a need to rent professional meeting space on an occasional as-needed basis. 3104 Office Expenses Includes print paper, print ink, copying charges, binder creation, USPS/FedEx fees on as-needed basis. 3105-06 Accounting, Insurance (self-explanatory). 3107 Contingency As customary necessity, a 15% contingency addition is included due to possible near-term relevant service and fee increases.
- 4100 SEC, Other Fees: 4101 SEC Compliance Paid to ideaPledge legal team to customize our dedicated business entity to fully comply with all relevant SEC and State of California statutes. 4102 Credit Card Acceptance Per standard practice, all credit card transactions are charged a 2.9% fee. 4103 ideaPledge This fee covers the platform services that ideaPledge provides this project.
What’s the Equity Partners’ Return-On-Investment (ROI)? How will it be paid? When?
Equity Partners shall receive ten percent (10%) ROI, plus full repayment of their initial investment. An additional proportional share of future net profits from music publishing, live performance/touring, product placement, merchandising/branding and licensing revenue will be determined during placement talks.
EPs shall receive their investment plus 10% ROI within 15-30 calendar days of our receipt of initial buyout or total production funding. This is conditional on how the contract funds are released. We may receive funding in tranches rather than a lump sum. Investors will be kept fully appraised on all future contract negotiations with distributors as warranted, and will receive payment schedules once distribution placement contracts are finalized.
What are the minimum and maximum investment amounts? Are they any "levels" of investment and credits for Equity Partners?
For expediency, the minimum investment for this project is $2500 (USD). The maximum possible investment is the full amount of $99,273.
There are three (3) Equity Partner levels, referred to as "Producers" for on-screen credit purposes;
Level 1 Investment: $50,000 plus; 100% repayment of original investment plus 10% interest, partial participation in future profit streams for a 5 (five) year period, receives on-screen/online/print media credit as a "Producer" before and after each episode, one (1) all-expenses-paid 3-day trip to C0sta Rica to visit the production set and interact with talent, private access to online production feeds, all-expenses-paid trip to the "wrap" party and finale concert, caps, t-shirts and logos as produced, "Special Edition" DVDs/CDs/media,
Level 2 Investment: $10,000 to $50,000; 100% repayment of original investment plus 10% interest, partial participation in future profit streams for a 3 (three) year period, receives on-screen/online/print media credit as an " Associate Producer" before and after each episode, one (1) accommodation-expenses-paid 3-day trip to C0sta Rica to visit the production set and interact with talent, private access to online production feeds, accommodation-expenses-paid trip to the "wrap" party and finale concert, caps, t-shirts and logos as produced, "Special Edition" DVDs/CDs/media,
Level 3 Investment: $2,500 to $10,000: 100% repayment of original investment plus 10% interest, partial participation in future profit streams for a 12-month period, receives "Special Thanks" on-screen/online/print media credit after each episode, private access to online production feeds, access to the "wrap" party and finale concert, caps, t-shirts and logos as produced, "Special Edition" DVDs/CDs/media
How will this be set up, business-wise? When will equity funding become due?
A portion (12.4%) of the development budget will be used to establish a dedicated business entity under relevant US Securities and Exchange Commission (SEC) and State of California statutes. This insures full regulatory compliance concerning business ventures of this type. ideaPledge platform fees are included in this portion of the development budget.
EPs will pledge their investment amount through our ideaPledge webpage, and we will be able to receive and process credit card payments. EPs will make their actual investment payment once the total budgeted amount has been pledged. Development budget funds will not be released until we receive our full budget in pledges within 6 months of this project’s posting.
Please refer to the ideaPledge Investor page on its website for more information.
Will equity investment be used for other projects “in the pipeline”?
No. The development funds are to be used for the furtherance of this specific development project only. Any remaining development funds after project placement or cancellation will be refunded to EPs within 15-30 calendars days of such occurrence.
What protections do you have for investors’ funds?
Equity Partners will be part of a company subject to standard business practices. EPs are “buying shares” in a business venture, and as such are risking their investment in a speculative project. The Producers have a fiduciary responsibility to professionally and competently manage this project to fruition. California and US Federal laws, and all applicable standard investor coverage will govern the operations of this company and standard investor protections shall apply.
Potential Equity Partners are encouraged to consult their tax attorneys and accountants for specific information about possible risks and benefits from participation in this project.
Why are the Executive Producer and Consulting Producers being paid at the specified rates?
This project has been in pre-development for over two years, and the Producers have a very good estimate of the time commitment required to successfully oversee our project. The Executive Producer will oversee all aspects of development. His duties will include; research, interview and hire the Development Unit personnel, arrange and co-ordinate as needed day office/meeting room rentals, office and postal expenses, identify and commission contract creation as needed, approve all payments and issue same through the Production Accountant, oversee the issuance of monthly investor reports, and perform whatever other tasks necessary to insure successful completion of our project.
The Consulting Producers will continue to provide informational support, translation support, research and musical directions on an as-needed basis. They will be paid a lump sum covering development duration.
Will I be able to track how my investment is being spent?
Yes. EPs shall receive a monthly cash flow statement directly from our accountant, most likely in the form of secure emails. High-level EPs may also receive a limited number of custom interim statement indirectly from the accountant upon request.
Why aren’t there any pie charts or graphs included?
The Harvard Business Review article: “Tesla Proves Business Metrics Outdated” (08.08.2017) is applicable to our project. Being that Netflix, Hulu, Amazon and most distributors keep secret their subscriber base demographics and numbers, it is impossible to create credible estimates about “market penetration”, deal amounts or other contract particulars. Present-day contract amounts are not public information, and one particular distribution deal does not guarantee similar amounts or parameters for similar projects. Each separate project seeks the best possible deal from the ‘strongest” interested distributor on its own terms.
Why is there a contingency line item in the budget?
The Producers have carefully created an estimated development budget based on the most recent fee schedules and scale payments available. But we have no control over the timing of others’ fee increases. It is better to be prepared for unpredictable price increases than to have a budget shortfall in the middle of our project. As stated before, any leftover funds will be returned to EPs proportionally at the end of this project.
Is my profit guaranteed? What happens if there are no interested distributors?
As this is a speculative venture, the Producers cannot guarantee success, regardless of how strong a presentation package we develop and present to distributors. A good analogy is this is a start-up business and our EPs are venture capitalists. There is inherent risk in any new business creation. But we are in a very advantageous situation to fill a “space” in the international television industry.
The global motion picture market continues to expand at an increasing rate, primarily by the continuous addition of new broadcast, cable and streaming channels. The need for original and compelling content (“shows”, “stories”) worldwide has never been greater. We are taking a well-known television format, adding serious interesting twists and aiming the series for viewing by a global audience from project outset.
We are allowing a maximum of 12 months (after receipt of development funding) for this development’s duration. We are allowing up to 6 months for obtaining our target of over 100,000 verified online followers/fans and another 6 months for our legal team to obtain the best possible contract “deal”.
“My Music My Dream – A young musician’s life IS a reality show” represents and opportunity for investors to get in on the “ground floor” of a new television series that has to potential to take the entire world by storm. And create a new music super-group with long-term career potential.
As in professional sports, we will find the absolute best talent we can find, and let them do their “thing” before the entire world. And as in professional sports, we have to potential to create a very nice, long running profit stream as well.
For further information please contact the Executive Producer directly: email@example.com