The Disney-Maker Mega-Deal -- A Big Win for All Involved, Including LA-Based Content-Focused Investment

Well, those rumors were true -- Disney has, in fact, bought Maker Studios for the $500 million price-tag that we had come to expect (and with kickers that could bring it up to nearly $1 billion).  I wrote a feature article about this “possibility” 10 days ago in Variety (this is the link to that story) -- and I just shared my thoughts with Variety now that this deal has, in fact, become reality.

I lay out the business rationale for this mega-deal in these Variety articles (and won’t repeat them here). I also discussed them in this CNBC segment.  Certainly, this is a big big win for Maker’s investors.  I also believe it is a smart deal for Disney -- the strategic value and justification of which is not captured by looking at Maker’s financials alone.  Maker has tremendous value that can be unlocked uniquely in the Mouse House Machine.

Ultimately, this deal also is a big win -- a very big win -- for LA-based content-focused investment.  LA is a serious hub of digital media and tech-focused entrepreneurialism.  The Silicon Beach community is vibrant and alive with innovation.  But, up to now, LA has felt a bit insecure about its position in the world of venture capital and investment.  Next to its older and bigger NorCal sibling, it frequently felt unworthy (and that Silicon Valley sibling certainly frequently fueled that insecurity by not believing in content-focused investments).  The LA digital media/tech community has been looking for its first “big win” -- essentially its poster child.

Well LA, you have found that win in the guise of Maker Studios!  So shake off that insecurity, and get ready for a continuous string of significant SoCal-focused M&A activity in the next 12-18 months.

Strap on your seat-belts, it’s going to be a bumpy ride ... but an exhilarating one too.

Looks like NorCal’s little brother is growing up ....

Apple’s iTV Finally Coming Thanks to Comcast? Here’s Why It Would Be Smart. Very Smart.

[UPDATE -- I share my views in today’s article in USA Today]

Tantalizing news you may have missed over the weekend -- Apple and Comcast allegedly are negotiating a potential mega-deal to offer an OTT “TV” service.  If true -- and if a deal ultimately happens -- this has the potential to be massive.  It would likely be THE critical missing ingredient that has prevented Apple from releasing its long-anticipated all-in-one flatscreen iTV (and its much-needed new product category).

I have predicted an iTV well before it became conventional wisdom to do so.  And, I have always felt -- and written -- that Apple can only follow its integrated hardware/software-services playbook if it was able to offer full compelling “TV” programming, including critical “must have” live television (especially ESPN).  Well, Comcast can solve that problem -- since Comcast, of course, already offers all that content/programming (and may have those rights to distribute that programming nationwide).  Mega-cable/broadband company Comcast also has the power to optimize the quality of service of any such OTT programming (a la Comcast’s recent deal with Netflix).  So, rather than Apple needing to negotiate one-by-one with the major broadcasters and studios (who are increasingly wary of Apple), the iTV would get all of the programming it needs in one-fell swoop.  And, does Apple really care about being the actual programming “packager”?  No!  For Apple, the programming is just the means to an end -- the means to deliver a great overall customer experience -- and sell more hardware (in this case, iTVs). THAT is its business model.  Always has been.

Think of such a mega-deal as being analogous to Apple’s break-through into the phone world several years back with AT&T.  AT&T enabled Apple to do this.  Apple made the beautiful hardware (iPhone).  AT&T provided the necessary service to make the iPhone functional.  And, Apple wrapped the overall hardware/software/service in a beautiful and seamless user experience -- and the rest is history.  That deal was good (massively good) for all involved (and not so much for the other service providers).

Similarly, an Apple/Comcast deal not only would be good for Apple, it could be very good for Comcast.  Comcast -- as well as all other cable companies -- understand that the world has changed, and that OTT services are here to stay.  Comcast and others also understand that OTT premium video services require more bandwidth -- and, in fact, are massive bandwidth hogs -- which require consumers to upgrade to more expensive broadband packages (for which consumers are already accustomed -- and willing -- to pay).  And, providing “fatter pipes” is a more compelling business proposition as compared to providing the content services -- since margins are significantly higher.

But, the single biggest potential mega-benefit for Comcast is that Apple -- given its passionate base across the land -- has the potential to expand Comcast’s now limited geographic footprint nationwide via a new iTV.  Again, Apple provides the hardware (the iTV itself); Comcast provides the programming out of its geographic footprint (and has the direct customer relationship a la AT&T with the iPhone); and other cable companies actually enable this “competing” reality via their own pipes (the broadband).

Tantalizing indeed.

And smart for Apple and Comcast.  Very smart.  Two behemoths.  Both hungry for -- and in need of -- a new mega-growth story.

Mentoring With the Mouse @ Disney Accelerator

Disney just recently launched its new Disney Accelerator with much fanfare, together with partner TechStars.  And, I am pleased to have been invited to join -- and have joined -- the team of Mentors to help grow and hopefully inspire selected companie.

The Disney Accelerator is now focused on 10 “early stage companies with innovative consumer and media entertainment product ideas.”  Those startups will receive both $120,000 and mentorship, as well as direct access and opportunities with Disney’s top management.

Another important data point that SoCal/Silicon-Beach based tech and digital media innovation and entrepreneurialism is alive and well.

Vertically Focused MCNs You Should Know -- DanceOn, StyleHaul, INDMusic, Crunchyroll

Have been speaking a lot about MCNs lately -- first my guest article in Variety; then my thoughts on CNBC.  I have primarily discussed rumors swirling around Maker Studios [UPDATED -- rumors true -- Disney buys Maker] and Warner Bros.’ recent $18 million investment in gamer-focused MCN Machinima.

Here are some other vertically-focused MCNs you should know -- in addition to Machinima (which most definitely is an acquisition target):

(1) DanceOn -- like the name says, it’s all about dance -- and this LA-based company is hot and growing fast -- very fast.  It is also backed by A-list investors, including AMC Networks, Nigel Lythgoe (creator of “American Idol” and “So You Think You Can Dance”), Madonna, Guy Oseary -- and now Manatt Digital Media Ventures.  I too have invested.  Dance is hot -- and DanceOn owns the category.  The “MTV of Dance”, if you will.

(2) StyleHaul -- this is the leading fashion and beauty MCN that counts over 4000 channels and is also based in LA -- and is also on fire; definitely one to watch.  Lots of talk about this one, and the international opportunity is massive.  I am a believer.

(3) INDMusic Network -- bills itself as “YouTube’s Largest Music Network”, giving indie musicians and those who support them the tools to more effectively monetize; I like the music focus on this one, which immediately differentiates it from others.  And, look at the investors (including Machinima’s Allen DeBevoise) and management team.  A-list.

(4) Crunchyroll -- all about anime -- what more do you need to say?  You think that isn’t enough?  Then you're missing it.  This one is being watched by many major media companies.

Expect significant M&A from many (if not all) on this list if not by the end of this year, then most certainly by the end of 2015.

Popcorn Time Shuts Down, But Hollywood’s Threat Is Not Over

What a week for Napster-like (the original Napster) online movie service Popcorn Time.  First, just this past Monday, TechCrunch calls it “Hollywood’s Worst Nightmare."  Then, the service’s founders abruptly shut it down mid-week due to the fright it created -- and the fright that they apparently did not want to be part of (read its founders’ farewell manifesto here).  Hollywood views this as a big win against piracy -- a win echoed in the music world just this week by a jury verdict of copyright infringement against cloud “music locker” service MP3Tunes that was founded by original MP3.com founder Michael Robertson.  That service is now, for the most part, also shut down.

No matter how you view these 2 services, however, the fact remains that although they may be gone, Hollywood’s threat to its traditional business models remain.  I have seen this movie before first hand as President of groundbreaking online music service Musicmatch -- a legitimate service that entered into licenses with all major and indie labels.  I helped lead Musicmatch back in the days of the original Napster, and I saw first-hand the music industry’s misguided attempts to sue it and others out of existence -- its strategy being that the best offense is a good defense.  In other words, focus your resources on litigating your enemies into oblivion.

But, as I thought then, I continue to think today -- the best offense is ... a good offense!  The genie is, as we all know, out of the bottle ... forever.  These particular threatening services to premium content creators (movies, television, music) are gone, but others continuously will take their place for myriad reasons.  In fact, Popcorn Time’s fate likely will embolden others to relentlessly continue a threatening mission.

INNOVATION is the answer.  Hollywood must focus on its strengths, of which there are many.  These are just some answers -- answers that find their precedent in the past ten years of learning by the music industry:

(1) Customer Experience -- this is the single most important factor!  The customer must be delighted.  Legitimate services, with real money behind them, can bring significantly more to the table in terms of customer experience than any Popcorn Time-like service can -- and THAT should be their focus.  For one thing, the creators (actors, directors, producers) will (or should) actively support official services -- and they certainly won’t (at least for the most part) support the others.  Direct fan to artist engagement alone is a significant and winning differentiating factor, if done right.  The primary point is that Hollywood must actively support “legitimate” services -- license more, not less, of their content -- so that users are delighted, rather than frustrated.  It is frustration that turns some away to the perceived “dark side."

(2) Quality -- although related to customer experience, this is a bit different.  Hollywood-backed services can work closely with other major players in the overall online eco-system to optimize the streaming experience itself.  Put simply, your online movie experience will (or should) look and sound much better.

(3) Security -- although I am no engineer, Popcorn Time-type services have the potential to expose the user to more hacking-type threats than more buttoned-up officially-backed services that invest in significant (although certainly not fool-proof) security measures.

These are not the only factors, but these are some important ones.

I am an optimist that consumers on a mass scale will PAY for Hollywood-backed subscription services if done right.  It is up to Hollywood to smartly enable service providers to give the consumers what they want in those services, because online and mobile distribution -- and the human instinct to want what we want, right now -- are here to stay.

And, we are still only in the early innings of this reality ....

5 Questions with Patreon CEO Jack Conte -- My Exclusive Q&A

Patreon is a Bay Area-based company that enables all of us to be patrons of the arts.  The company takes a different spin on crowdfunding -- giving fans the ability to make recurring payments to content creators (musicians, video creators, artists) in order to support them monetarily on a continuing (rather than “one off”) basis for the art that moves them.  Another compelling ray of new hope in our brave new digital/social media age -- reflecting the power and opportunity of direct one-to-one engagement.  Interesting.  Compelling.  I met CEO and founder Jack Conte in the waiting room of Bloomberg, just before both of us went on the air live in separate interviews.  Conte is a musician himself. 

(1) What is the reason your company exists (and what problem(s) are you looking to solve)?

Patreon exists because the current system for "content monetization” is entirely broken.  How can a creator who routinely engages hundreds of thousands of people make only a few hundred dollars per month?!  How can a blogger who has 10k monthly uniques gets a fifty dollar check from AdSense for their readership?  How can a web comic artist be making less than minimum wage with twenty thousand daily readers?  Currently, digital content is monetized with ads, and that's a terrible way to monetize content.  It doesn't account for how much a fan CARES about the content itself.  To an advertiser, every fan is simply a pair of eyeballs, and ALL eyeballs are worth 1/1000 of a CPM.  However, some fans would be more than willing to support a creator monetarily for creating art that moves them.  On Patreon, many of our creators are literally making 100x their ad revenue - this might sound surprising, but that's how BROKEN the current ad based monetization system is.  Content monetization is a HUGE problem, and Patreon is fixing it.

(2) How are you different from your competitors?

Patreon doesn't have many competitors right now.  Recurring payments wrapped inside crowdfunding is an entirely new space.  Patreon takes it a step further by matching crowdfunding with media consumption.  The only competitor that is employing a similar concept is a company called Subbable, founded by the brilliant and thoughtful Hank Green.  Subbable is similar to Patreon but the reward structure employs the concept of a "perk bank," which allows backers to account for their cumulative donations and be rewarded with physical merchandise.

(3) Why will you succeed (and what is your single most important ingredient for success)?  

We are succeeding because there are very few companies that actually cut creators a check at the end of each month.  When creators learn about a service that PAYS them for making art, the adoption of that service is rapid and fervent.  There are thousands of services that help creators "grow” or "engage" their fans.  Very few services are actually increasing the bottom line for creators.

(4) What makes you unique (and what do you enjoy most outside of building your business)? 

Paying creators every month is what makes us unique.  What I enjoy most, outside of building Patreon, is making videos and music, and using our product to get paid for doing what I love!

(5) What digital media trend is most interesting to you (and what is the least)? 

The most exciting digital media trend right now is the inevitable move BACK to patronage.  For the last 100 years, patronage has been off everyone's radar.  Because artists were able to record their work and sell it as a physical product, patronage became unnecessary.  But now, because media has been digitized, because self-publishing is possible through social media, and because physical product sales are declining, patronage is re-emerging as the dominant source of income for artists.  This shift is inevitable, and it's already happening, right now.

My CNBC Segment About MCNs - Why Maker, Why Machinima, Why Now?

MCNs are all over the media and tech news -- I recently wrote about this in Variety.  Yesterday, CNBC aired this segment about it, in which I was interviewed.

My Article In Variety - Why Studios Are Suddenly Hot for MCNs

Big news in the world of multi-channel networks this past week -- first, Warner Bros. closed its long-anticipated $18 million investment in gamer-focused MCN Machinima; and now rumors are abounding that Disney is in discussions to buy more horizontally-focused leading MCN Maker Studios for $500 million or much more.  With all this activity, Variety asked me to write an article that lays out why here, why now, and why at the rumored lofty price-tag.

Here is my Variety article -- hot off the presses!

Things Heating WAY Up for Content-Based Digital Media Companies

Wow!  What a week for content-based digital media companies -- and I’m not just talking SXSW.

Let’s take a quick look -- on the heavily-watched MCN/online video side of things:

(1) Warner Bros. makes an $18 Million investment and takes a major stake in gamer/young male-focused MCN Machinima;

(2) Disney counters by looking to buy rival MCN Maker Studios for $500+.

Disney hasn’t yet closed the deal with Maker apparently.  But, you know what’s coming next.  Full Screen.  Big Frame.  Anticipate acquisitions later this year by competing studios.  Micro-video networks most certainly are “in” -- expanding the palette of the majors to include broader content offerings (and, importantly, also harvesting new talent to be featured “upstream” in bigger and more traditional content offerings).

How about on the online music side of the house?

(1) Spotify acquires Echo Nest and, subsequently, takes a $200 Million line of credit -- likely to fund even more acquisitions -- and, in the words of Venturebeat, as another sign that it is preparing for an IPO;

(2) Beats Music counters by closing a round of financing of at least $60 Million -- likely for the same reasons.  Meanwhile, the steady drumbeat of new startup online music services continues.

Content-focused digital media/tech-focused companies are white-hot right now.  And, that action is taking place primarily in LA.

Exciting times.

And, I haven’t even discussed the madness this past week at SXSW Interactive!

5 Questions with Dealflicks CEO Sean Wycliffe -- My Exclusive Q&A

Here is the perfect exclusive CEO Q&A for SXSW -- with Sean Wycliffe of digital media/tech company Dealflicks based in the heart of Silicon Beach.  I met Sean at the recent DEW Conference in LA after hearing significant buzz about what he/they are doing.  And, I believe deeply in the market opportunity here -- filling empty seats at movie theaters (i.e., addressing excess capacity) via strategic discounting in which everyone wins -- the movie studio, the theater owners, and the consumers.  Apparently I am not alone -- the company has had no problem finding sources of capital.

On with the questions ...

(1) What is the reason your company exists (and what problem(s) are you looking to solve)?

Dealflicks exists to get butts in movie theater seats. 88% of movie theater seats are empty, in fact, 95% of seats are empty after opening weekend. This is a major problem for theaters in the US and abroad. Since theaters generally rely on the marketing conducted by studios to promote their own films, there haven’t been many (if any) cost-efficient, effective solutions for theaters to target empty seats. Dealflicks solves this problem by only selling inventory that our theater partners designate as ‘hard-to-fill’, the 88% empty seats.

(2) How are you different from your competitors?

There aren’t any direct competitors, but we do have many companies that are close to us. Traditional online movie ticket providers (Fandango/Movietickets.com) have been very successful over the years, but they only sell full-priced tickets and charge convenience fees. As a result, they mainly focus on show times that are in high demand, so Dealflicks is complementary to their service. Daily deal sites do offer deals for movie theaters here and there, but it’s difficult to make sure that theater-goers use these vouchers for empty-seat show times vs. popular show times. Also, some retailers such as Costco sell discount tickets for certain large theater chains, but these offerings are intermittent and require advanced purchasing. Also, from the theater’s perspective, this method doesn’t allow the targeting of empty seats.

(3) Why will you succeed (and what is your single most important ingredient for success)?

We’ve been able to have success over the past 1.5 years since our launch because of our relationships with exhibitors. Unlike many others, we really focus on this aspect and build long-term, personal relationships. Our business development team travels the country (see http://pando.com/2013/05/13/startup-hustle-why-two-men-decided-to-sleep-together-in-a-van-for-months-on-end/) and understands the needs and issues of each individual theater. Also, we have some great technology. There are many complex back-end solutions that we’ve implemented, and we recently launched our API (see http://developers.dealflicks.com) which allows other apps/websites to white label and sell Dealflicks’ inventory directly within their app. In fact, this is the first open movie ticketing API in the history of the US :)

(4) What makes you unique (and what do you enjoy most outside of building your business)?

Lol, a few things :) I’ve had a weird last 12 years: As a freshman at UCB in 2001, I experienced 9/11 just a month after school started. I somehow ended up getting involved in the pro-America movement (see http://content.time.com/time/magazine/article/0,9171,181582,00.html). Shortly after, my brother and I started a long-distance door-to-door sales, then I bought a Porsche, dropped out of school, and moved to LA when I was 19. By age 21, my brother and I grew the business to over $1M in revenue, and we bought a $1.2M home in San Juan Capistrano (I also bought a Ferrari 360). I thought I was going to be a billionaire, until the long-distance company we contracted went bankrupt in November 2004. We lost everything (well, I did keep the Porsche), and we started over selling refurbished cell phones. I struggled quite a bit in 2005, and I believe God used that experience to reach me. I joined a two-year, full-time ministry program with my church, grew in character, and then went back to UCB in summer 2008. I ended up doing well this time around, graduating summa cum laude, Phi Beta Kappa in Economics. I then had the idea for Dealficks after I graduated in early 2011.

The short story: I love skiing, basketball, watching movies, and eating great food. I haven’t drank alcohol since 2004, I’m a Seventh-day Adventist Christian, I’m now engaged to my beautiful fiancé Channchi, I’m almost vegan again (I was vegan for 1.5 years in 2006/2007), my brother and I founded/run a non-profit now called Project Pueblo, and I spend a lot of time hanging out with my family. I’m also Bangladeshi (not too many of us in the states :)

(5) What digital media trend is most interesting to you (and what is the least)?

I’ve always been interested in the trend of alternative content in movie theaters. While it’s just starting, made possible by movie theaters’ recent conversions to digital projectors, I can’t wait for the day when major sporting events like March Madness, the Superbowl, etc. are ‘playing in theaters near you’.

In terms of the least interesting media trend to me, hmm, maybe any trends involving second screen stuff (I don’t really personally use second screens because I don’t have a TV in my apartment :)

The Oasis Montgomery Summit -- It Can Only Happen Here ...

... just finished attending the inaugural 2-day “Oasis Montgomery Summit” in the heart of Silicon Beach.  And, what a uniquely impactful event it was -- in every respect.  Where else can you have a one-on-one Q&A with Deepak Chopra (and learn about the age-defying impact of meditation on the cellular level), a 30 minute meeting with the lead singer of Edward Sharpe & The Magnetic Zeros (and learn about his revolutionary new “Second Gov” social impact project, and sit in on a lunch conversation with Blackberry’s new CEO John Chen (who answered the question, “why did you take this job?” with a hilarious and tongue--in-cheek off the cuff remark, “to get away from my wife!”)?

It can only happen here folks.  And, that was just today.  Yesterday, Eric Schmidt among others.

And, don’t forget the connections and entrepreneurs -- and there were many.  Ahh, yes -- one more thing -- THIS is where the news broke about the discovery of the father of “Bitcoin” (of course, he lives in La La land!).

A+ event.  Done right in every respect.  Looked premium.  Felt premium.  Guests were premium.

A “must attend” event for those in digital media and tech.

Apple Should Just Buy Tesla ... Before The Company Hits “60"

Tesla’s Model S accelerates fast.

But, Tesla’s stock is accelerating even faster.

Tesla’s market cap is now a jaw-dropping $31 Billion!  But, in my view, that stock ultimately will either crater completely or, more likely, $31 Billion will be a distant memory and seem like a bargain.  The early days of Apple, if you will ...

... ahh, this brings us to Apple.  Lots of speculation, of course, that Apple is eye-balling Tesla to become its “next big thing.”  I actually wrote about the logic behind such a move in June of 2013 (9 months ago), well before this rampant speculation that broke only a couple weeks ago.

But, you say, Tesla is simply too rich -- and perhaps even unworthy -- for Apple at its current $31 Billion market cap?

That is some real coin, of course.  But, don’t forget that Apple sits on a hoard of cash -- and that its market is $475 Billion.  Most importantly, Apple really does need its “next big thing.”  It appears that it has missed the boat in the living room with its long-anticipated iTV which, alas, still has not seen the light of day.

And, don’t forget that Facebook recently agreed to pay $19 Billion to buy WhatsApp.

Why not by a Tesla Model S instead of a virtual messaging app?

A Week in the Life of a Digital Media Exec - The Whirlwind Starts Today

Digital media/tech conferences permeate the landscape and can overwhelm digital media execs (like me).  I could, essentially, attend events 100% -- so, you must pick your events judiciously.

Well, this coming week -- starting today -- is chock full of worthy events.  And, my dance card is filled -- my cup overfloweth’.

Today, the excellent inaugural OASIS: The Montgomery Summit kicks off in the heart of Silicon Beach -- Santa Monica, California.  It is a VC’s paradise, with well over 100 companies pitching and vying for our attention.  And, today’s highlighted speaker is Google’s Eric Schmidt.  But, there’s more.  For the first time, a significant social impact vibe permeates the event.  That’s why Deepak Chopra is a featured speaker tomorrow.  Didn’t have enough?  Then, get this.  One of my favorite bands -- Edward Sharpe & The Magnetic Zeros -- plays tonight’s VIP party.  I am proud to say that event organizers green-lighted me to break that news several days ago.

So, that’s today and tomorrow.  How about Friday?  Glad you asked.  Friday is the kick-off for the excellent UCLA Entertainment Symposium, at which I will moderate a panel titled “Multi-Channel Networks & Other New Premium Video Players -- Their Impact On (& Opportunity For) Hollywood.”  This should be a good one -- my panel will feature Allen DeBevoise (CEO of Machinima), Keyvan Peymani (Head of Digital & Strategy at ICM), Paul Snow (YouTube), and Anna Tran Reyna of Fox Networks).

You would think that that’s enough to end the week, right?  Wrong.

Saturday I fly to SXSW -- where I will be until Wednesday morning, March 12 (when they will need to fly me back in a body bag after the continuing barrage of meetings, events and parties).  My company -- Manatt Digital Media -- will attend SXSW in full force.  Want to schedule a meeting at SXSW?  Then reach out to me via LinkedIn.

Just another week ....

5 Questions with Krush’s CEO Phil Shalala -- My Exclusive Q&A

My latest exclusive “5 Questions” CEO Q&A is with Phil Shalala of Krush - a SoCal-based digital media company whom I met at the recent DEW Conference.  I judged Phil’s pitch at DEW’s Startup Competition and was impressed.  No wonder -- he has deep marketing and venture capital expertise -- a seasoned entrepreneur -- who, among other things, served as CMO of Hard Rock Hotel and Casino for years in Las Vegas.

Krush is a social media marketplace focused on the lifestyle of action sports and the street-wear culture. The company’s platform enables emerging artists and brands to market their passion projects, utilize e-commerce, data and social media resources while binding the gap between personal identity and commerce.


Here we go ...

(1)  What is the reason your company exists?

Action sports and street-wear are multi-billion dollar industries with nascent tech. Krush exists to provide a platform to discover and purchase the brands and products in the space within a community of like-minded mobile users. This very defined and influential user does not currently have a platform that speaks their language. They are highly mobile and their mobile purchasing is growing rapidly. Additionally, the brands in this space have not adapted operationally to account for true monetization of data and social media. Krush exists to provide smarter tools during the brands creative cycle. For our user, Krush is a social commerce platform vertically focused around the products that influence their life. We are addressing a problem for a very influential user and the brands looking to innovate their process. (and what problem(s) are you looking to solve)?

(2)  How are you different from your competitors? 

We are vertically focused in Action sports, street-wear and the outdoor culture. We are not trying to be everything to everybody.  


(3)  Why will you succeed (and what is your single most important ingredient for success)?

We have multiple advantages in the space that gives us credibility. We know our customer and live the space with them. We have partnerships that will scale our user base and provide unique content. We are tapped in from the roots of a culture that allows us to adapt and create quickly. Because of this we have an ability to be first to the mobile market across multiple categories of content.  Success relies on a passionate and focused team.  Everyone needs to contribute to the vision and believe in our ability to disrupt. 

(4)  What makes you unique? (And what do you enjoy most outside of building your business?)

I’ve built many brands that represent the lifestyle of a user segment. I’ve had the privilege to work within very diverse teams inside fortune 500 brands as well as emerging brands that need to develop a market edge. I built retail, influenced marketing positioning in the beverage space, represented athletes, scaled a hospitality company, worked in casino gaming, created Day life, designed restaurants, music venues and hotels. I’m the customer first in everything I do. My vast experience creating, building and developing product that touches all aspects of a consumer’s mindset provides a different approach to building tech.  I don’t code, yet I have been tasked with solving daily challenges of building a multi billion-dollar enterprise. I get excited to use this experience inside a start up and believe we can move the needle faster. 

Outside of Krush, I try to live the message I deploy in business. Understand it- Live it- Enjoy it- if they don’t connect, time to find something else. I’m a Dad 1^st and I believe in active health, I enjoy the water and the mountains. Without our mental and physical health we have nothing. 

(5)  What digital media trend is most interesting to you (and what is the least)? 

I’ve been watching the wearable tech trend closely. It is interesting to see the user adoption across all the platforms and use cases. I think it’s here to stay and the data and metrics derived from the devices have multiple industry applications. I think wearable tech has only scratched the surface of commercial health care and education.  

The “like” to me is least impressive. It’s like paper money, it looks good, feels good but it doesn’t convert.