Sony Interactive Entertainment has paired with PBteen, a Williams-Sonoma company, for a new line of officially-licensed PlayStation home furniture and décor.
The new collection is inspired by classic PlayStation symbols as well as the look and feel of the current PlayStation 4 gaming system and offers furniture, decorative accessories, lighting, functional storage and organization solutions for PlayStation systems and accessories.
Key items include a black suede and charcoal tweed bean bag chair with symbols and an acrylic light with multi-colored display and geometric shapes based on the game’s controller.
“This partnership with PBteen, a company known for its stylish design that resonates with the youth market, is a perfect complement to the PlayStation brand,” says Asad Qizilbash, vice president, marketing, SIE. “There’s impeccable attention to detail within each piece of the collection that PlayStation fans will truly appreciate, delivering fun and personal ways to decorate their gaming space.”
The PBteen Collection Inspired by PlayStation is available now at PBteen.com/PlayStation.
The LIMA ASIAN Licensing Awards are widely recognized as the highest level of achievement in the industry and is dedicated to identifying the outstanding achievements in the Asian licensing markets. Winners will be announced during the Hong Kong International Licensing Show at the Opening Night Cocktail Reception on January 7, 2019:
This year, we have received nominations from 11 countries for 11 award categories and the number of nominations has increased by 30%. The award judging mechanism is composed of 2 stages. At stage 1, the Awards judging panel gathered in October to shortlist final nominees. The 5 nominations with the highest total scores from each category will enter stage 2 where they will be placed online for a ballot by worldwide licensing industry players. Each voter (by company) will vote for one nomination in each category.
年度企业/时尚生活品牌授权项目 Property – Owner/Agent
Coca-Cola – The Coca-Cola Company / CAA-GBG
Mickey Mouse – 90th Anniversary – The Walt Disney Company
Discovery Expedition – Discovery Communications, LLC / PPW Sports & Entertainment Limited
Pantone & Pantone Universe – Pantone LLC / PPW Sports & Entertainment Limited
Van Gogh Museum – Van Gogh Museum Enterprises B.V. / Shanghai Ruihe Culture & Art Development Co., Ltd
年度娱乐授权项目（动画） Property – Owner/Agent
Boonie Bears: The Big Shrink – Fantawild Animation Inc.
PAW Patrol – Viacom Nickelodeon Consumer Products / Guangzhou Art-land Holding Co., Ltd.
Mickey Mouse – 90th Anniversary – The Walt Disney Company
Ejen Ali – Primeworks Studios and Wau Animation
Peppa Pig – Entertainment One
Entertainment Property of the Year – LIVE ACTION
年度娱乐授权项目（非动画） Property – Owner/Agent
Avengers: Infinity War – The Walt Disney Company
Jurassic World Fallen Kingdom – Universal Pictures
Monster Hunt 2 – Edko Films Ltd.
Licensed Promotion of the Year
年度授权推广项目 Promotion Name – Owner/ Promotion Licensee
Doraemon Selfie Contest – Fujiko Pro / ITC Limited
Super Wings X Yili QQ Star 2018 Summer Joint Promotion Project – ALPHA GROUP CO., LTD / INNER MONGOLIA YILI INDUSTRIAL GROUP CO., LTD.
PETS ROCK X Starbucks “Lets Rock” (China and Taiwan) – Polyblank Designs LTD (t / a Takkoda) / Starbucks
China Merchants Bank (CMB)”Angry Birds” Debit Cards – Rovio Entertainment Corp. / China Merchants Bank
KFC X SUPER WINGS Marketing Event – ALPHA GROUP CO., LTD / KFC
Location-Based or Experiential Initiative of the Year
年度主题性娱乐体验项目 Name – Owner/Venue Partner
Miffy meets Kumoya – Mercis BV / Bakemono Pte Ltd
Angry Birds Play Center (ABPC) – Rovio Entertainment Corp. / Kidgoland International (Shanghai) Company Limited
Changi Loves Kids: Sesame Street has Arrived！- Sesame Workshop / Singapore Changi Airport
Frozen Carnival in Taiwan – The Walt Disney Company / Taipei 101
MTR Malls x Garfield G40 – Paws Inc. / MTR Corporation Limited
年度被授权商（服饰） Company – Property
PEACEBIRD MEN – COCA-COLA
Nautica – The Rap Of China
Li Ning – Mickey Mouse – 90th Anniversary
FUJIAN QUANZHOU LIXUN CHILDREN’S PRODCUTS CO., LTD. – B.Duck
Hyungji Fashion Group Korea (Castelbajac) – Despicable Me Franchise (Minions)
Licensee of the Year – Houseware
年度被授权商（家居用品） Company – Property
Menred Group Ltd. – Electrolux
Chengdu Fast Horse – KUNGFOOD
P&G(Olay) – Alice in Wonderland/Frozen/Mickey Mouse
A.S. Watsons Group Limited – Miffy
Shanghai M&G Stationery Company – Miffy
Licensee of the Year – Toy
年度被授权商（玩具） Company – Property
Kai Shu Story – Super Wings
ledafood（Dongguan）Co., Ltd. – Peppa Pig
Hot Toys – Disney/Marvel/Star Wars
Uni-Fun – B.Duck
Mattel Inc. – Jurassic World Fallen Kingdom
To say our guest on indialicensingpost.com is a veteran of the music industry is an understatement of the highest order. He’s worn many hats along his long and illustrious career from strategic marketing manager to handling the complete international music profile to amateur hobbyist DJ to present day as the senior director International music and publishing and head of licensing at Sony Music Entertainment.
A big warm welcome to Arjun Sankalia.
Thanks for talking to indialicensingpost.com
Thank you. It’s a pleasure.
ILP: You’ve been with Sony Music for
over 19 years now, which means you’ve seen the glory days to the Napster phase
and now the whole digital boom. Tell us a little about your journey. Did you
want to quit at any point and seek safer climbs?
AS: There are many questions in there. It’s very interesting that you mention Napster. If I remember correctly I think Napster happened 2 weeks after I joined Sony Music in May of 1999, so I don’t know if I’m the “bearer” of bad luck but it’s quite a coincidence. How did my journey begin? I decided I wanted to be in the music business very early, since the 8th or 9th grade, I’ve always wanted to do something to do with music. I’ve always been very passionate about music, since the age of 8 or 9 I started collecting records and recording cassettes off the radio. So I was always looking for opportunities to do something with music because someone once told me that if your interest or hobby becomes your career, then you’re not working. So, I took that pretty seriously. When I was starting off my career there weren’t necessarily many opportunities… meaning Sony obviously wasn’t there, this was way back in the early 90’s, so in an effort to get a degree or a qualification I went out and did an MBA degree in Advertising and I was very clear that I wanted to do international music, so that ruled out all the Bollywood labels, so to answer your question, yes I did hedge my bet as far as my career was concerned and I actually worked in advertising for 3 years. To answer your question did I feel like quitting? I actually did quit in 2002 and went back to work in an advertising company but quickly realized that advertising is not what I want to do for the rest of my life and I quickly came back to Sony Music in three and a half months and have not left since then.
ILP: According to the LIMA Global
Licensing Report 2017, Music (product licensing and merchandise based on music
groups etc – which doesn’t include
licensing of music itself for advertising and other commercial purposes) clocks
1% of the 262 billion $ pie. Is this in-line with your assessment?
I don’t know the right way to answer that question. If you look at the $ 262
billion figure that would not only include recorded music but worldwide concert
grosses and things like that because the current IFPI valuation of the music
business is around $14-15 billion. So if you were to take that $2 billion
number against the $14 billion figure, I would think that would be in line for
the licensing & merchandising business, though I would not necessarily
consider myself an expert on the same.
ILP: How big do you think the actual
music licensing & merchandising business in all formats is globally and in
India? Which one commands the largest share?
AS: Licensing of music in ancillary products or into products like hobbyist, TV shows etc in the West is quite large, but obviously it is not that large in scale in India for various reasons like cost, development of retail, I would suspect a large amount of merchandise which is sold in the West is via LIVE events and through retail, both of which (LIVE and organized retail) are still growing in India. I don’t think we are there yet.
ILP: According to the LIMA Global study – in Retailing of licensed merchandise – India ranks 20th and contributes just 0.3% compared to US at 60% of the overall business. Are you seeing green shoots as far as licensing is concerned? Are channels like e-commerce and modern retail helping? Given that music consumption is on the upswing, the L&M business could get a fillip as well?
AS: You’re definitely right. We are seeing green shoots in the overall licensing & merchandising business. I can see from where we are sitting (near the office), there is a merchandise store which is called Planet Superheroes which is right across the road and one kilometer down the road, there is an Entertainment store called Title waves, but I don’t know if this has to do exclusively with music and rightfully so. I don’t know if you were to compare the sales of Avengers vs Star Wars vs music – what the ratio would be. But again to answer your question, yes green shoots are there in terms of retail and there are people out there going and investing in retail. Yesecommerce is playing its part. Its taking care of availability. I could be sitting in Baroda or Kanpur and a “Bazinga” t-shirt is just a click away. But one must juxtapose is over the last 5-8 years it with the death of conventional retail, with stores like Rhythm House shutting down
and Planet M. Another way to put it is if modern music retail were still around it would benefit the sales of music merchandise because if I’m in a music store I’m more likely to buy music merchandise, the music store would be more skilled at assessing that if I’m selling say 10,000 Justin Bieber cd’s I could sell a 1000 Justin Bieber t-shirts. Now, fact of the matter is there is no music retail and modern retail is underestimating the opportunity to sell music merchandise.
ILP: India is one of the countries where digital music sales have overtaken physical sales. According to the FICCI M&E report 2018, sales through digital channels account for 65% of overall music sales. More than half of the sales are through ad-supported streams, followed by mobile personalization (25%). Digital downloads accounted for a mere 2% of the overall sales – has the dust settled for the foreseeable future at least or are you suspicious of another technology disruption around the corner?
I’m actually not suspicious of a tech disruption. I think one should look at
digital in India and China differently. What digital and ad-supported has done
to the business is that it has actually expanded the addressable market
substantially. You’ve never had as many people participating in music
consumption by sheer volume using the same kind of device. You’ve had record
players at one point, then cassette players and cd players but device penetration
has always been low or limited. Now if you were to take every mobile phone is a
music player, and there are 800-900 million users in the country and once there
are 100% smart phones along with data penetration. The other great thing is
with all the streaming services out there, the need to pirate either
consciously or subconsciously has reduced dramatically. I haven’t been to a
train station lately, but earlier if you went there, you could pick up an mp3 CD
with 100-150 songs burnt onto them for a 50-100 buck. Today at least in the top
30 cities, I don’t see the need for anyone to buy these as the music is readily
available to you and given the central position the mobile plays in everybody’s
life why would you want to do it? Now you can’t even give a CD away, 5 years
ago you could give it to someone thinking they will grab it. Now most computers
don’t even come with a CD drive.
ILP: Music companies seem to be venturing into a wide range of activities such as producing edutainment-based content for children, current affairs magazines, concerts, themed restaurants, artist management, hardware products, business content & spiritual content to name a few. Which activities have you explored and how have the results been?
AS: Spiritual content we’ve always had within the company, and that could have been organic or inorganic, because spiritual / devotional music is 5-7% of the market, I’ve seen in places like Mapusa (Goa) market you get a lot of gospel music, if you go outside Siddhivinayak you will find a lot of devotional music which followers pick up on their way in or way out, so we’ve always been in the spiritual / devotional space. We recently around 3-4 years ago started a kids content division, which produces edutainment and DIY stuff, there’s some really cool stuff which will be launched shortly. We’ve not ventured into the LIVE space, but we are in the talent management / artist booking space with some of our artists.
ILP: Has the rate of piracy declined with the introduction and increased affordability of new streaming services?
AS: I would say Yes. I don’t have the stats, but I would surmise even anecdotally that after accessibility has increased, the rate of piracy would have dropped. For example, how would you carry around 100 cd’s in the car? There is no need. Because even if you buy it how you going to listen to it? If you were to look at the sales of headphones and blue tooth speakers, then you’ve got a music system. strategize can see that there is definitely an upswing. If you go to a hostel you will find most of the students playing their music on their Bluetooth speakers. The phone has become such an integral part of you now, you first ask can I do it on my phone and if I can, why should I buy something else? I don’t own a music system at home. Many people spend a huge amount on music systems but use blue tooth speakers. These things prove that the mobile is playing the music off a legit service. If you’ve got 220 million users on in india on you tube, that’s a sizeable number. And with the CD you were either playing it in the car or at home. I don’t think those exist anymore. I don’t know when the last time was I put the CD into even a DVD player. Things have changed drastically.
“I don’t own a music system at home.”
ILP: YouTube still remains the no. 1
destination for music and music video consumption. Facebook is looking to jump
into the fray as well. Does this bode well for the music labels? Tell us a
little more about your licensing strategy with respect to these players.
Yes, it does bode well from an overall aspect, it does bode well for the music
industry. Youtube being the #1 service and #1 place for self-expression and
others express themselves I presume that Youtube is the #1 source for music
consumption in the world. But there are various issues related to Youtube which
I’m sure you’ve read about which pertain to the “Value Gap” which is that the
remuneration from Youtube is not necessarily in-line with what one would get
from a standalone music service. But those issues are being addressed and
Google has launched its own music service in various places. But my philosophy
is that Youtube is a licensed and legitimate way to consume music and the
nuances of how to make it more equitable for all stakeholders are being looked at.
ILP: Why haven’t we seen as many brands licensing music for their commercial communication? According to Pradeep Guha of 9X Media, he feels and I quote “the fault lies with the stakeholders of the music business who tend to discount their own product. Advertisers consider music almost the last in the food chain as far as their spends on commercial communication is concerned” unquote. Your views on the same?
I think it might have to do with an overall knowledge, consciousness, awareness
of copyright. When I was in advertising there were these urban legends that one
didn’t need to pay for music if I change a note or if you used it for less than
20 secs you didn’t have to pay. I remember in the 80’s there were line by line
copies of international tracks without any worry of copyright infringement. So
because of this lack of awareness no one was aware of how much it would cost to
clear the copyright. The second legacy issue is I think I think Pradeep Guha is
right in the sense that it’s the “last thing in the food chain“ ad filmakers
haven’t been paying as much attention to the use of music in their
communication. However things have started to change with more awareness with
people paying what is considered to be fair value for the track being used. For
example we licensed the Ed Sheeran’s track “Shape of You” to a Unilever brand
last year and it got approved by International offices and it was a decent
amount. It’s more of a mindset issue where if say the production cost of a film
is a crore (10 million) and they’ve kept aside 10-15% for the track, then it
becomes a budgetary issue. What I try to tell people is that if you think the
track really fits well with your communication then instead of pegging it to
your production cost, peg it to your overall media spend. Because a 1 crore
commercial might actually have a 100 (1 billion) media plan behind it. So
instead of 50 lakhs of 1 crore, is 50% but 50 lakhs of 100 crores is not
necessarily the same. You may lose out on a few on-air rotations of the spot
but the deal is a lot more equitable and realistic.Because if you’ve written a
script around that particular song, it should command a lot more value. So they
look at it as part of the whole media buy and not as a fraction of the media
ILP: Give us some examples of successful
sync or music licensing deals that have happened in the recent past?
AS: Shape of You done with a Lever brand, Black Keys song will go air shortly, Saregama’s done a lot of sync deals. We’ve licensed music to Micromax to Bajaj for a motorbike which had a track from Bhaag Milka Bhaag. Theres a lot of action happening in this space. Even in the Chinese market a similar state existed – it takes 8-10 years to work out. So at some point in time we will also catch up.
ILP:How does a new artist go about licensing their music? Do they have to produce the track and come with hobbyist video or will Sony music help them with that?
Yes you can come with the finished product and we will help them market it. But
more often than not we sign up an artist and work with them on overall artist development.
There are many aspects involved like song writing, song production, the whole
creative process, the physical process which has to do with the creation of the
song, then the deployment of the track either in India or around the world,
then there’s marketing within which comes music video creation. Now, here many
things have changed. Earlier when broadcast was big you would showcase your
music video on multiple TV channels to sell your product, today there’s a stat
that says millennials look at their phone about 150 times a day and if let’s
say out of those 150 times, they are 80 times looking at Instagram, then you
need to be present in the persons media feed. And now with the culture of everyone
becoming a creator, you can’t have just one video, you need to have a whole
allied marketing strategy with dance off challenges, memes and all these
ancillary pieces of content to sell that piece of content. The idea is you need
to have multiple pieces of content instead of just one showing up in people’s
media feed at any point in the day and we help people strategise on how to go
about it. And today the beauty of social, with the extreme access that fans
have to their stars, I could write to Donald Trump if I wanted to via Twitter.
If I see my favourite artist playing with their dog and I like dogs, I’m going
to be a lot more interested in their content. So there’s a wide spectrum of
content which needs to be put out. All of this needs to be factored into the
ILP: In this age of social media overload what’s the tipping point for an artist to be taken seriously by a music label to license their music? Is it a million fans on Youtube?
I don’t think there’s a specific number. With A&R guys the finesse lies in identifying
the parameters for spotting the talent early in the artists trajectory rather
then when they’ve already got a million fans and have become
mini-celebrities.Its like the stock market you want to jump in as early as
possible. And there are many tools and companies worth a lot of money like Soda
tone which can help you identify what is buzzing among people. I read this
book, there was this story about how on the Sunset strip there would be all
these record executives who would go there
to see these glam metal bands perform and if you saw more than 3-5
A&R guys sitting in a bar, then there would be most of the labels bidding
to sign that act. But if 3 months earlier you were the only guy there then your
chances would be much better.
ILP: Does Sony music help Indian music
artists launch globally?
AS: Yes, we are keen to take Indian music to the world stage. That is an objective. Indian music has had its moment on the global stage with AR Rahman at the Grammys but when will we have our sustained moment. But I think the question to be asked is when will we have our own Meghan Trainor or our own Despacito and I think that will happen sooner than later because if you see the rise of Latin or K-pop outside of Latin America and Korea around the globe, India should follow soon whether its hindi or english or tamil, one does not know. If I were to be bold I were to say next 3 years if I was not I would say the next 5!
Thanks for speaking to us at indialicensingpost.com Arjun! We look forward to keeping the communication going and receiving feedback from our listeners and readers and your responses to the same. Cheers!
Le Lima France récompensera le 13 décembre 2018 l’excellence et le dynamisme de l’industrie du licensing Déposez vos dossiers dès à présent et ce avant le 16 novembre pour avoir une chance de gagner l’un des 8 trophées! #limalicensing#awards#limafrance
The French LIMA chapter will celebrate the excellence and dynamism of the licensing industry on December 13th, 2018 in Paris with its first LIMA Awards. Submit your file from now and before November 16thto compete for one of the 8 Awards! #limalicensing#awards#limafrance
We always overestimate the change that will occur in the next two years and underestimate the change that will occur in the next ten. Don’t let yourself be lulled into inaction – Bill Gates
The combination of artificial intelligence (AI) and collaborative robotics has the potential to change the world. AI unlocks entirely new capabilities for robots, which, without AI, are rigid and unresponsive to the world around them. We were able to spot many real life applications at the intersection of robotics and AI. This edit is a recap of some of our observations.
Lead innovations in retail will start to happen in the area of mass public consumption. By keeping a close watch here, you will be future-aware and get future-ready.
#1 Robotic Cocktail/ Mixologist
Cooking is an art for chefs, and when a mixologist readies a glass of drink to meet the customer’s expectations and satiate his thirst, it’s both art and science at play. Watch a robotic mixologist in action here or click the image.
#2 Shop Comes Home
Why go to a shop when the shop can come to your door step. A smart combination of Cab Hailing, Self-Driving Car and Shopping all in one. Watch this innovation here or click the image below.
#3 Robotic Pharmacy
From prescription to tendering the medicine, this robotic pharmacy is fully self-serve. With digitisation of the medical system, this explodes the possibility of using data to improve both the doctor’s diagnosis and future prescriptions. You can watch this innovation here or click the image below.
#4 Offline Retailing Personalised to One
With a face scan, pick up a self help scanner and start your shopping. As you scan an item, contextual offers, promotions, marketing messages pop-up. Complete your shopping, check out with your wearable. This is retailing to the level of one which best of companies are able to practice online now, coming to offline soon. You can watch this innovation here or click the image below.
Here is an unmanned store concept. Enter with your Face ID, shop and keep moving.
#5 Localised Automation
Automation need not be at the scale of a Store. This innovation is a clear example of automating one process, for eg., Check-out scanning. One of the key issues in bar code based scanning is many bar codes are not readable and there is plenty of time wasted and customers have to wait. This 3D scanning machine with computer vision can recognise the products irrespective of where the bar code is and even if the bar code is missing (using the image and text on the packaging). You can watch this innovation here or click he image below.
#6 Computer Vision: Possibilities
Computer vision provides machines, the cognitive capabilities which helps machines now to do a lot of skilled jobs at scale. The following possibilities are covered in the video below
a) Object Identification b) Weapon Detection c) Character Recognition d) Personality Identification e) Violence Detection f) Emotion Detection g) Drowsiness detection
You can watch this innovation here or click the image below.
#7 Smart Wall
This is a see throughsmart screen which can be fixed in malls or retail stores with a camera right on top. As the people walking by stop there, they will get personalised recommendations of brands and products. They can interact with the screen and shop. The walls collect information on the people who came using the camera and share the details on customer profiles and their interactions with the brands. Consumer research and interactions made simpler and at scale.
Social and humanoid robots will help us do a lot of mundane tasks in the time to come. I had the opportunity to interact with Sofia, the world’s first robot citizen, and Han (a humanoid robot created by Hanson Robotics). I also interacted with another mini social robot which converses with us and slowly becomes like ours, a huge potential in changing education and user interfaces in the time to come. We captured these memories below.
You can watch Sofia in action here or click the image below.
Hope these innovations are stimulating some thoughts in you for the business you are in.
With the capabilities of machines improving by the day, what we need to do as human is changing rapidly. If you are not seeing it, it is coming to you faster than you think. It is important for each one of us to look at the skillsets of our teams and organisations in this context to be future-ready.
Apart from bringing the AI technologies to fashion and retail industry, we at Stylumia would like to play a role in the skill enhancement with respect to understanding the technologies available today.
If you would like to know more about future skill-sets required for a fashion brand or retailer, please get in touch with me on the following – Email: firstname.lastname@example.org : Mob +91 8010812602
The World of Eric Carle has paired with J.S. Pancake to introduce The Very Hungry Caterpillar-themed menu items and pop-up cafes at 14 locations throughout Japan.
Cosmo Merchandising Co., The World of Eric Carle’s representative in Japan, negotiated the deal through worldwide licensing agent, the Joester Loria Group.
Under the terms of the agreement, J.S. Pancake is offering food, interior design and merchandise inspired by the classic book title, including matcha parfait, fruit drinks, apple pancakes, among other items.
That’s right, LIMA is going to Lima! LATAM is the fourth largest region for retail sales of licensed merchandise in the world and the fastest-growing region in the world, according to the 2018 LIMA Global Licensing Study. Interested in expanding your business into this burgeoning market?…
Join LIMA for our third annual Latin American licensing conference and showcase, Latin America Day of Licensing 2018, on November 8 in Lima, Peru. This informative event will provide brand owners, agents, licensees, retailers and other related business professionals the opportunity to network and grow their business in the Latin American market.
Latin America Day of Licensing will feature tabletop exhibits by agents and brands, as well as an opportunity to learn from licensing professionals in the region on a variety of Latin America-focused topics, including:
HOW TO BUILD YOUR BRAND USING THE LICENSING MODEL This session will feature case studies on how new and struggling brands reinvented themselves into successful enterprises by using the opportunities made available to them by licensing. The discussion will focus on the qualities a brand must have to be licensed, and how to build a brand with a successful licensing program as the ultimate goal.
Speaker: Michael Prada, Senior Licensee Manager for Latam, Sesame Workshop
THE VALUE OF BRAND EXPERIENCE
Making the consumer feel good strengthens the business. Realizing that generating experiences and / or valuable content is a key to generating customer and brand preference. Consumers make decisions based on experiences – and now more than ever – these customers are in the search of new experiences. This session will address how to create brand memorability and how to be disruptive. Two levers for growth.Speaker: Catalina Bonnet – Country Manager Kantar Milllward Brown
Over the past decade, Peru has been the fastest growing economy in Latin America with a 5.5% average annual growth rate, and the region’s second lowest inflation rate at 3.6%. Peru maintains the highest consumer confidence levels in Latin America. With a population of 32 million, Peru stands as the third largest market in Latin America and has the highest spending per capita on licensed products and services in the region. It is also ideally situated to attract attendance from all of Latin America.
Here is a partial list of the companies who will participate as exhibitors and sponsors:
For more information on how to sponsor, exhibit and attend Latin America Day of Licensing, please go to: http://www.latinamericalicensing.org.pe/nosotros