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领英登录马上加入忘记密码立即加入《用户协议》《隐私政策》《Cookie 政策》Skybound EntertainmentBoston University忘记密码立即加入《用户协议》《隐私政策》《Cookie 政策》忘记密码立即加入《用户协议》《隐私政策》《Cookie 政策》加入领英，查看档案忘记密码立即加入《用户协议》《隐私政策》《Cookie 政策》举报此会员档案忘记密码《用户协议》《隐私政策》《Cookie 政策》立即加入Merch is transformativeThis is why I always say yes to…Do you know the next Einstein is…Win from within firstBack with #WaterCooler story #2A/B testing is for everyoneWe all need a dose of laughter once in…Caitlyn Jenner talks about breaking biasSee all articlesGarima Sharma 转发了此动态举报此动态Garima Sharma 转发了此动态Akin Tahir FCCAGarima Sharma 转发了此动态ControllerController Super7，美国14Garima Sharma 转发了此动态举报此动态Garima Sharma 转发了此动态Jason BischoffGarima Sharma 转发了此动态LoungeflyFunko#nowhiringhttps://lnkd.in/guQq7F4VFunko is looking for Sr. Manager, Licensing.762 条评论Garima Sharma 转发了此动态举报此动态Garima Sharma 转发了此动态public_profile__posts605 条评论Garima Sharma举报此动态Garima Sharma 分享了此动态https://lnkd.in/g-uT-mSCSkybound Entertainmentpublic_profile__posts956 条评论Garima Sharma 转发了此动态举报此动态Garima Sharma 转发了此动态Saurabh ShahGarima Sharma 转发了此动态#hiringWarren Jameshttps://lnkd.in/gukuXzb6Vice President of BrandsVice President of Brands Warren James，美国5811 条评论Garima Sharma举报此动态Garima Sharma 分享了此动态Prince St. Pizza#licensing#consumerproducts#gaming#brandpartnerships#Invincible#primevideo#foodandbeverage#licensingexpo2026#licensingexpopublic_profile__posts1307 条评论Garima Sharma 转发了此动态举报此动态Garima Sharma 转发了此动态Austin LongGarima Sharma 转发了此动态Kyle SparksDaniel Alcivia SmithGarima SharmaCatie Carduccipublic_profile__posts816 条评论Garima Sharma 转发了此动态举报此动态Garima Sharma 转发了此动态Margaret DeanGarima Sharma 转发了此动态https://lnkd.in/gGYFHctkStory Trailer | Invincible VS773 条评论Garima Sharma 转发了此动态举报此动态Garima Sharma 转发了此动态David Alpert (DA)Garima Sharma 转发了此动态Prime Video & Amazon MGM StudiosSkybound Entertainment#Invincible#Skybound#Animation#Storytelling#SeasonFinale1041 条评论Garima Sharma 回应了此动态举报此动态Garima Sharma 回应了此动态Ran FangGarima Sharma 回应了此动态Clare LeMiguel OliveiraLarry WeinbergGarima SharmaBrian GallagherGrace deVuonoCarrie Topielpublic_profile__reactions114 条评论Garima Sharma 赞了此动态举报此动态Lexi ChapmanGarima Sharma 赞了此动态Ari FreedmanBrand CentralGarima Sharma 赞了此动态Lexi ChapmanLicensing Expohttps://lnkd.in/gsv4C7Kwpublic_profile__reactions8Garima Sharma 回应了此动态举报此动态Garima Sharma 回应了此动态Ross MisherGarima Sharma 回应了此动态Lori SaleMichael HelfantKristin PatrickLicensing InternationalLicense GlobalJennifer Kleinert MisherBrand Centralpublic_profile__reactions266125 条评论Garima Sharma 赞了此动态举报此动态Garima Sharma 赞了此动态Dan Dressel - SUMMER GAME FESTGarima Sharma 赞了此动态Skybound Entertainmenthttps://lnkd.in/geGd55ayJeff LandaIsiah TurnerGeorge ManisSteve NoelJen Zallpublic_profile__reactions461 条评论Garima Sharma 赞了此动态举报此动态Max ArguileGarima Sharma 赞了此动态#JeromeMazandarani#brandsuntappedBrands UntappedGarima Sharma 赞了此动态Max Arguile#brandsuntapped#licensing#design#brandextensionhttps://lnkd.in/eJ6qY8bbReemsborko named worldwide licensing agent outside of Asia for Ghost in the Shell - Brands Untapped9524 条评论See all activities忘记密码《用户协议》《隐私政策》《Cookie 政策》立即加入《用户协议》《隐私政策》《Cookie 政策》Retail Marketing StrategyWharton Online查看证书Social Marketing Certification查看证书Content MarketingHubSpot查看证书YouTubeYouTubeNatalie Riso “Garima is one of the most hard working people I know. She is solutions oriented, results driven, and has been able to have a profound growth at Studio71. Her years of experience and multiple MBAs give her a great sense of how to work with tons of personalities and perspectives, and her grit and determination are evident in every project she is a part of. ”达山 “Garima is a thorough professional; extremely passionate about all aspects of her work. During our interaction at the Times of India, whenever I approached her for support for my clients, she consistently offered creative solutions that struck the right chord with brands and readers alike. An asset to any company she works with. I wish her all the best for her future.”加入领英，即可查看Mia Vallo查看档案Daphne Leroy查看档案Rob Silverstone查看档案Darren Campo查看档案Angie Byun查看档案David H. Gardner查看档案Rich Johnson查看档案Colin Brown查看档案Andy Negrin查看档案Katrina Hitz-Tough查看档案Anuja Trivedi Shemaroo Entertainment Ltd. • 2101 位关注者Interesting article by Hiren Gada on how the indian broadcast space is undergoing a massive and perhaps permanent shift and its impact on various players in the space. All of us talk about TV versus digital and how viewership and ad monies are shifting in favour of digital, however in the broadcasting space itself an interesting scenario is playing out. As Free Dish continues to gain momentum, where are the viewers moving, where are the advertisers and where is the money? Will the re-entry of big broadcast players in the Freedish GEC space truly change the economics at play between pay and free television forever? Arghya Chakravarty Sandeep Gupta Hitesh Shetty Sagar Hosamani 18Shailesh Kapoor Ormax Media Pvt. Ltd. • 5606 位关注者Jan-May India box office is 27% higher than the same period last year. And there has been only one breakout 300+ Cr release yet (Chhaava). The over-simplistic and binary streaming-will-kill-theatres debate now seems almost dated. "How streaming is impacting the theatrical business?" is the more relevant and nuanced question. It's an area Ormax Media is doing extensive work in, across a range of streaming and theatrical clients. 29 2 条评论Shailesh Kapoor Ormax Media Pvt. Ltd. • 5606 位关注者Immensely satisfied with The Ormax OTT Audience Report: 2025, which is by far the biggest research report published by Ormax Media, across our 17 years of existence. It has more than 15,000 data points on various aspects of the Indian OTT market - audience size, subscriptions, platform user profiling, devices, languages, content formats, time spent, media habits, etc. 73 3 条评论Srinivas Kumar Balabommala aha • 6298 位关注者8 Week OTT window @ South Cinema. Is it mutually beneficial? OTT is NOT killing theatres. Under-performing films are. Blaming 28–35 day OTT premieres for low footfalls is an easy narrative. But let’s be honest—only 8% of films actually work in theatres. So what about the remaining 92%? They don’t lose audiences to OTT. They lose audiences because people either simply don’t want to watch them in theatres or they can’t afford every movie in theatre. Another critical question is, How many Distributors or Exhibitors stand by Producers when films fail? And when these films underperform, the same ecosystem quietly relies on OTT to recover costs—through reduced deals, renegotiations, or hourly payout models. The reality is stark—only a small percentage of films succeed at the box office, while the majority struggle to recover costs. As per the industry reports, Recent examples highlight this clearly: • Thank You (Naga Chaitanya) premiered on OTT within three weeks due to poor theatrical performance • PanchMinar (Raj Tarun) arrived on OTT in just eight days • Even a large-scale film like Indian 2 required OTT deal renegotiation after underperformance In such scenarios, OTT platforms are not the problem—they are a financial safety net, enabling producers to recover partial investments on underperforming films. OTT isn’t the villain. It’s the bailout. Let’s also talk about audience behavior: Most people who want to watch a film in theatres do it within the first 2 weeks. After that, it’s onto the next Friday release. So what exactly is an 8-week window protecting? If content works, it works everywhere: Films like DJ Tillu, Naandhi, Zombie Reddy, Dirty Hari, Sardar, Super Deluxe, Khaki, Bheemla Nayak, Khaidi, Trance, S R Kalyanamandapam, Samajavaragamana, Baby, Jallikkattu, Driver Jamuna, Malik, Premalu, Masoodha, Polimera2, Hotspot, The Road, Ashoka Vanamlo Arjuna Kalyanam, Keeda Cola, Marco, Rekhachitram, Alappuzha Gymkhana, 35 Chinna Katha Kaadhu, Zebra, K-Ramp, Shambhala and so on proved that success in theatres and OTT can coexist. If it doesn’t work, no window length can save it. Meanwhile, rigid holdbacks create a different problem: Piracy. The longer audiences are forced to wait, the faster pirated 4K versions show up on Telegram, YouTube, and beyond—making anti-piracy both expensive and ineffective. A one-size-fits-all window is outdated. An 8-week theatrical window may be viable for event films with strong momentum like Kalki, RRR, KGF, Amaran, Daaku Maharaj, Lucky Bhaskar, Pushpa, OG, M S G, A O R. What the industry actually needs: • Performing films → Let them run (5–8 weeks) • Under-performing films → Move fast (2–3 weeks) Simple. Because today, OTT isn’t competing with theatres. It’s completing the film’s lifecycle. The sooner we accept this, the healthier the business becomes. Let’s move hand in hand. #ott #entertainment #southindiancinema #theatre #cinemahall #exhibitor #distributor #tvchannel #producer #8weekwindow 50 4 条评论Montese Jordan, MBA ZobeLab • 1150 位关注者Spotify has launched a new three-tier subscription model in India, Indonesia, Saudi Arabia, South Africa, and the UAE, introducing Premium Lite, Premium Standard, and Premium Platinum plans. The highest tier, Premium Platinum, more than doubles the cost of previous subscriptions in India and includes features like lossless audio, AI DJ, AI Playlist, third-party DJ integration, and mixing tools. This pilot rollout aims to test demand for higher-priced options and more localized pricing strategies. Spotify says current subscribers can keep their existing plans or upgrade, while the free ad-supported tier remains available. https://lnkd.in/gxvtewMs #musicbusiness #musicindustry #musicstreaming 1Girish Wankhede entity one entertainment… • 3860 位关注者Box Office Analysis : The first six months of 2025 The first half of 2025 has marked an exceptional period for Indian cinema, showcasing a significant resurgence in box office performance compared to the previous two years. In 2023, five films crossed the ₹100 crore mark, including major hits like “Pathaan,” “Tu Jhoothi Main Makkaar,” “Kisi Ka Bhai Kisi Ki Jaan,” “The Kerala Story,” and “Adipurush.” In 2024, only two films, “Gangubai Kathiawadi” and “The Kashmir Files,” reached this milestone. However, the first half of 2025 has already seen six films surpass ₹100 crores, highlighting the growing appetite for diverse narratives in Indian cinema. Notable films include “Chhava,” which generated over ₹600 crores, “Sky Force” with ₹113 crores, “Raid 2” at ₹173 crores, and “Housefull 5,” which amassed ₹182 crores. Additionally, “Sitare Zameen Par” is still earning at ₹121 crores, while “Sikandar,” despite being labeled unsuccessful, managed ₹110 crores. Collectively, these films have contributed nearly ₹1400 crores, marking a significant achievement for the industry. Overall, the box office figures for the first six months of 2025 have crossed ₹5000 crores, underscoring the vitality of Indian cinema. This surge is not solely attributed to Bollywood; films from various regional industries have made substantial contributions. In the Telugu film industry, several titles have excelled. “Anil Ravipudi’s Sankranthiki Vasthunam” earned around ₹187 crores, while N. Balakrishnan’s “Daku Maharaj” grossed ₹91 crores. Naga Chaitanya’s “Thandel” also found success with approximately ₹66 crores. Other noteworthy films, such as “Hit: The Third Case,” “Kubera,” and “Court: State Versus a Nobody,” have further solidified the industry’s strong performance. The Malayalam cinema sector has also made impressive strides, with Asif Ali’s “Rekhachitram” and Mohanlal’s “Thudarum” both grossing ₹106 crores. Successful titles like “Officer on Duty,” “Alappuzha Gymkhana,” “Narivetta,” and “Prince and Family” have also contributed to this success. Mohanlal’s blockbuster “L2: Empiraan” added to the tally. In Tamil cinema, Ajith Kumar’s “Good Bad Ugly” generated ₹153 crores, while Pradeep Ranganathan’s “Dragon” crossed ₹102 crores. Other films like “Tourist Family” and “Madha Gaja Raja” also performed well. The Kannada film industry has not lagged behind, with titles like “Agnyathavasi,” “Apaghatakke Karana,” and “Choo Mantar” showing strong performance. Additionally, Hollywood films have contributed significantly. “Thunderbolts” performed modestly with a budget of ₹25 crores, while the rerelease of “Interstellar” crossed ₹25 crores. “Captain America: Brave New World” grossed around ₹22 crores, and “Jurassic World: Rebirth” opened strong, with “F1: The Movie” surpassing ₹35 crores. Other notable Hollywood releases, including “How to Train Your Dragon,” “Ballerina,” and “Mission Impossible,” have also performed well. 3Anand Saga ProducerBazaar • 1万 位关注者ProducerBazaar is delighted to announce its official partnership with IndiaJoy 2025, South Asia’s largest digital entertainment festival organized by TVAGA backed by Telangana Govt. Together, we are proud to launch the Indian Film Market (IFM) — a first-of-its-kind initiative within the IndiaJoy ecosystem. The Indian Film Market (IFM) will serve as a structured marketplace for Indian films and content, enabling seamless connections between producers, studios, and creators with OTT platforms, broadcasters, and distributors across rights categories including satellite, dubbing, digital, audio, and emerging formats. Alongside IFM, ProducerBazaar is also curating two exclusive industry programs: Pitch-to-Deal Forum – Empowering emerging storytellers to present their ideas directly to industry decision-makers. Frames & Futures – A series of curated panel discussions and fireside chats focusing on intellectual property, monetization, and future content trends. All under one roof, this collaboration marks a milestone in showcasing Indian cinema to the world while creating new opportunities for growth, collaboration, and global reach. Event: IndiaJoy 2025 Dates: 1st – 2nd November 2025 Venue: Hyderabad, India For more details, please visit: https://indiajoy.in ProducerBazaar GK Tirunavukarasu Vijay Dingari Vetriselvan R 16 4 条评论Mansha Daswani ScreenMDM—An MD Media Biz… • 2804 位关注者Almost 55 original series and movies were highlighted at the Prime Video Presents event in India, where Kelly Day, Nicole Clemens, and Gaurav Gandhi, in conversation with Karan Johar, discussed the country's critical role in the platform's overall global footprint. “India is by far one of the most important markets for us anywhere around the world,” said Day, VP of Prime Video and Amazon MGM Studios International. “This continues to be a core acquisition driver for the Prime program, and it’s really driven by the scale and diversity of our Indian originals. It is what makes India one of our largest, most strategic, most important markets.” https://lnkd.in/etM3uwqS 10Aditya Radhakrishnan Unilever • 3278 位关注者The “Reelisation” of Cinema- What Bollywood can learn from the South The influence of “short form content” is now unmistakably visible on the silver screen—especially in the way films are conceived & cut. While Bollywood still leans unreal story arcs & legacy tropes, the South—across Tamil, Telugu, Malayalam, and Kannada industries—has embraced the aesthetics of reels as a storytelling strategy. From Pushpa’s swagger walk to KGF’s one-liners, South Indian films are increasingly engineered for virality. These moments aren’t just cinematic—they’re social first. They’re designed to be clipped, shared, and looped. The result? A film that lives far beyond the theatre, thriving in the digital bloodstream. The structure is no longer a slow build to a climax; it’s a series of climaxes, each engineered for virality. It’s cinema as sugar rush. But it’s not always easy to get right. Even seasoned filmmakers have stumbled. Consider Mani Ratnam’s, Thug Life. Once revered for his layered narratives and poetic visuals, Ratnam’s attempt to align with the reels generation has drawn criticism for abandoning depth in favor of dopamine. He did try to stitch together many high octane reels but the collective lacked any cohesion or narrative. Not just filmmaking, social media has had a huge impact on film promotions too. The RRR campaign dropped micro-content—BTS snippets, teasers, etc—that kept audiences engaged for months. Malayalam films like Manjummel Boys have gone viral not through star power, but through relatable, share-worthy moments that resonate with younger audiences. The lesson from the South is clear: in a world where attention is currency, designing for shareability is a competitive edge soaked in commerce. Now, what can marketers learn from this trend? Do share good examples of “reels first” campaigns or even "reel worthy" pieces from your favorite film. Notes- Reelisation is just one of many emerging techniques. It is neither the only technique that works nor is it a magic wand. I have used AI to edit this article. 21 4 条评论Akshitt Mishraa Game Insider • 5499 位关注者We’re officially opening up Sponsorship & Partnership opportunities for our upcoming College Activation Series across multiple campuses (Mumbai). This is not just logo placement. This is direct access to India’s most active, trend-setting, purchase-influencing audience college students. What brands get: • On-ground visibility across top campuses • Direct product integration & experiential booths • Tournament/IP naming rights (if required) • Creator-led content & digital amplification • Data-driven engagement with Gen Z consumers • Custom executions aligned to your campaign goals & budget Whether you're a tech, FMCG, fintech, D2C, lifestyle, or youth-focused brand we can build a format that delivers measurable impact, not just impressions. We’re currently onboarding: – Title Sponsors – Powered By Partners – Category Partners – Gifting / Barter Partners – Registration & Community Partners If your brand is looking to activate where attention actually lives, let’s build something scalable and culture-driven. Interested brands can comment or DM to explore collaboration. #CollegeMarketing #CampusActivation #BrandPartnership #SponsorshipOpportunity #GenZMarketing #ExperientialMarketing 11Keerat Grewal Ormax Media • 3158 位关注者An insightful analysis by Shailesh Kapoor on the trends emerging in our mid-year OTT report - 'Top 50 Streaming Originals in India: Jan-Jun 2025' 28Soumya Mukherjee Hoichoi • 2万 位关注者Over the last few years, hoichoi has grown steadily, not just in scale, but in how Bengali audiences engage with stories, build habits, and spend time on the platform. As we mature as a brand, one thing has become increasingly clear to us - the next phase won’t come from doing more of what already works. It will come from expanding formats, contexts, and entry points - guided by audience behaviour as much as creative instinct. Over the past few months, we took a meaningful step in that direction with the launch of hoichoi TV+ and hoichoi FM. These weren’t incremental product updates. They were deliberate bets. TV+ is our way of rethinking digital GEC for Bengal. Instead of viewing success only through reach or familiarity, we’re leaning into how people actually watch, how quickly they sample, where engagement drops, what pulls them back, and what they move to next. We have seen growth comes from format innovation anchored in retention and repeat behaviour. That learning is increasingly relevant for the Bengali market and the diaspora as well. This is our opportunity to tell diverse genres across multiple episodes to build a daily viewing habit. With hoichoi FM, we’re applying a similar lens to audio. Audio consumption is far more about context - time of day, duration, and habit. For Bengali audiences, this creates a powerful opportunity to build intimacy and daily relevance in moments where screens aren’t the primary interface and at the same time expanding on storytelling genres which may not be achievable with live action. From a Bengal standpoint, the signals are already visible: - Audiences are increasingly open to experimenting with new formats - GEC consumption is fragmenting by age, intensity, and context - Audio has deep cultural resonance, but remains under-explored in a structured way TV+ and FM are our first steps towards responding to these shifts. More importantly, they sit within a larger adjacent growth roadmap. Over the next few months, we’ll be announcing multiple new initiatives - across content, distribution, and product - each built to widen the funnel, deepen engagement, and create multiple ways for audiences to enter and stay within the hoichoi ecosystem. This phase is about building not just for today’s core audience, but for the next cohort of entertainment consumers across the World. None of this happens without teams that are willing to question assumptions and execute with clarity. Immense credit to all of them for pushing this forward. We’re still early in this chapter, but the direction is clear. We will continue to heavily invest in building original content and theatrical films as we have been doing and additionally look to sustainably build newer formats. hoichoi SVF Entertainment Vishnu Mohta Mahendra Soni 304 26 条评论Aritra Nandy India Khelo Football • 7208 位关注者👩‍🦳 Inside the new economics of women's cricket 🏏 🏟️ How World 🏆 2025 has transformed women's cricket from a symbolic pursuit into a scalable business asset 💱‼️❣️ 🏟️ Women’s 🏏 Hit Its Inflection Point ➡️ WPL auction on Nov 27 is expected to see player bids balloon. 📈 Brand portfolios of the women are likely to rapidly expand. 📈 Salaries are catching up. 📈 Endorsements are exploding. 📈 Sponsorship pipelines are doubling. 📈Investor interest & PE funds eye WPL as a high-visibility growth asset 🏟️ 📈Fan monetisation, Merchandise memberships and Social content to become steady revenue levers🏟️ 📈Franchise valuations and Rising audience engagement will grow by ➡️ 3x from 350-450Cr to 900-1,000Cr 💰💰💰 📈 Top women players may earn more than some male stars 🌟 📈 WC performers securing 5-6 brand deals each across FMCG, beauty and fitness. 📈 WPL is turning into one of India’s most valuable sports properties. In just 18 months, the value could double from 350-450 Cr to 600-750 Cr. 🏟️ Elevating women's cricket into a mainstream commercial force 🙌 🏟️ It’s Bigger Than Anyone Expected. 🏟️ This isn’t a pay bump. 🏆 This is a power shift. 💁‍♀️ Talent doesn’t come with a gender tag. Only opportunity does and once arrived, look what happened 🏆🙏🏻🙌 20 2 条评论Shrirang Nargund Shubha Media Consultancy • 7008 位关注者25 OTT platforms are banned by Indian Ministry of Information & Broadcasting, for showing explicit content. The list includes established platforms like ALTT & ULLU.   Recently, merger between Balaji Telefilms, ALT digital & Marinating Films has been approved. The agreement is also on the line between Balaji & Netflix for content collaboration. Balaji Telefilms is a listed company. Ullu Digital has filed a draft for raising funds around Rs.150/- Cr. Through an IPO that has been put on hold.   Adults can watch adult content. Movies are censored & certified by CBFC, TV content runs under government guidelines and OTT content is categorized with viewer's consent and platform disclaimer. If viewers find any content below mark, they would reject it and platforms won't survive. A decade back, same thing had happened at the beginning of streaming wave showing too much of sleazy content. Viewers rejected it after a while and content corrected the course. Haven't you seen such explicit content in many big movies with stars, in item songs, in double-meaning dialogues in those movies? Is it fine because of big banners, big production houses and big names? Every content industry would want open level playing field, not the closed one. Today most of the industry hailing the ban. Wonder if they will be comfortable with a government body deciding on their content on 'moral' & 'cultural' grounds? Apart from this ban, few Qs remains as long as any content concerns right from small to big screen, from short-form to long-form. Different generations may think differently…   What is obscene & what is not?   Which is 'Sanskari content' & which is not?   What is culturally acceptable & what is not?   What is moral & what is immoral? #India #streaming #ott #platforms #content #media #entertainment #digital #regulation #Indian #global #culture #moral #television #movies #broadcast https://lnkd.in/dsRTewQv 12 4 条评论Sameer Nair Applause Entertainment • 6123 位关注者Speaking at Content India 2026 in Mumbai, Nair described the current mood as “midway”—neither pessimistic nor euphoric, but marked by a clear recognition that the old growth playbook no longer applies. “The first phase—from zero to scale—is always the easiest. Now we’re at a plateau where everyone is recalibrating,” he said. #Streaming #Entertainment #SVOD #AVOD #India #Global Applause Entertainment Aditya Birla Group 94 4 条评论Aslam Shareef Adyah Music • 2499 位关注者Rolling Loud India is a massive milestone for the Indian live music scene especially the concert industry. The healthy competition between District and BookMyShow has truly elevated the standard. From management to setup to lineup, everything has been next level. The only piece missing now is stronger government support: more dedicated venues, easier public transportation access, and better infrastructure. Once that falls into place, the scene will be unstoppable. 33Devraj Sanyal Universal Music Group • 4万 位关注者India isn’t just a “high-potential” market anymore — it’s becoming central to the global music conversation. A great piece on Loudest.in by Ojasvi Kapoor today captures this shift well — from the scale of consumption and the diversity of audiences, to the speed at which local repertoire is now shaping global narratives. What was once seen as an “emerging” story is now very much a defining one. Over the past few years, we’ve seen: • Explosive growth in streaming and digital adoption • A new generation of artists breaking language and geographic barriers • Stronger monetisation pathways across platforms beginning to show early signs and strong ones. • And increasing global interest in Indian & south asian repertoire at large, collaborations and IP For us at Universal Music India this isn’t accidental. Our strategy has been clear — back local culture, invest in artists early, and build globally scalable IP from India. The alignment between our global vision and India’s trajectory has never been stronger. On a personal note, whatever wins we’ve had individually or an opco is a reflection of that belief — not just in performance, but in the conviction that India is no longer on the sidelines of the global music business. It’s right at the centre of it. We’re still early in the journey. But if the last few years are any indication, the India story is only getting bigger, bolder, and more globally influential. Exciting times ahead. Sanujeet Bhujabal Viral Jani Amita Karia Riddhiima Misshra (She/Her) Gaurav Chaturvedi Prithwiraj Choudhury Ferzad Variyava Sumedhas R. Vikrant Negi Dhilip Venugopal Faustin Missier Priti Deshpande Alaap Gosher Tarsame Mittal #IndiaMusic #UMG #GlobalMusic #MusicIndustry #EmergingMarkets #ArtistFirst 128 5 条评论Musab Zaman Self Employed • 4737 位关注者Gamers will finally have a real-life resume. With KRAFTON India introducing BGMI Career Mode, in-game behaviour is now being translated into real-world, career-relevant skills, something the Indian gaming ecosystem has needed for a long time. This comes at a crucial moment when AVGC is emerging as India’s Orange Economy, with 2 million jobs projected by 2030 and gaming entering schools and colleges across the country. From decision-making to teamwork and adaptability. Read the full story to understand why this could be a game-changer. https://lnkd.in/d-FtWasK KRAFTON India Anand Mishra Akash Joshi Arush Tyagi Sudhansu Sinha 16score #Gaming #BGMI #AVGC #OrangeEconomy #Esports #SkillBasedHiring #IndiaGaming 59 1 条评论Aniket Rajgarhia Strategic Leadership &… • 2136 位关注者Music Tech India is back with Expert Sessions #04: The Direct-To-Fan Opportunity When: Weds, 25 June, 7:30pm IST Where: [Virtual] RSVP here - https://lu.ma/jimsl96t ​Why: The music industry is at a pivot point, with streaming growth slowing and artists increasingly seeking new revenue streams. The direct-to-fan (D2F) model is emerging as a crucial solution, allowing artists to build stronger connections and maximize earnings. MIDiA Research reported that "expanded rights" (which includes merchandise, fan experiences, and brand partnerships – all integral to D2F) grew by a significant 17% to $4.1 billion in 2024, highlighting its critical role in monetizing fandom. This two-part online workshop will unpack the immense potential of the D2F space in India. We'll begin with an insightful introduction by industry expert Meghna Kallat, followed by an innovative startup pitch from ClubzFM, showcasing practical applications from artists like Green Park, Dhanji and Ankur Tewari, and opportunities in this evolving landscape. ​Who: This workshop is a must-attend for Indian music industry professionals, including labels, publishers, promoters, and especially music managers. With the global recorded music market evolving rapidly and "superfans" accounting for a disproportionate share of streams and revenue (Music Ally notes that while superfans are just 2% of an artist's monthly listeners, they drive 18% of monthly streams), understanding and leveraging D2F strategies is no longer optional – it's essential for sustainable growth and artist development in the Indian market. Learn how to cultivate high-value fanbases, diversify revenue, and future-proof your artists' careers. ​'The Direct-To-Fan Opportunity' is the 4th edition of Expert Sessions, a series of monthly online workshops from Music Tech India. Arav Saraff Meghna Kallat Amaya Srivastava 🎵 Adarsh Pankaj 64 5 条评论加入领英，查看完整档案关于无障碍模式用户协议隐私政策Cookie 政策版权政策品牌政策访客设置社区准则《用户协议》《隐私政策》《Cookie 政策》忘记密码立即加入《用户协议》《隐私政策》《Cookie 政策》

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