Berklee Valencia Culminating
Experience: Seek Business Plan
The Future Of Live Entertainment
Developed by Alexandra Morancy
 


 

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Table of Contents
I. Table Of Contents ............................................................ 2
II. Participation Form........................................................... 3
III. Introduction .................................................................... 4
Executive Summary ............................................................ 4
Company Description .......................................................... 5
Company Structure (Management) ..................................... 8
IV. Analysis .......................................................................... 9
Industry Analysis ................................................................. 9
Market Analysis ................................................................. 17
Internal Analysis (Economics) ........................................... 22
V. Plan Of Action ............................................................... 30
Operations Plan ................................................................ 30
Strategic and Marketing Plan ............................................ 36
Time Line (Gantt Diagram) ................................................ 42
 
Financial Projections ......................................................... 43
VI. Bibliography ................................................................. 52
VII. Appendices.................................................................. 56

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

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III. Introduction
Executive Summary
In the current state of the music business, live entertainment has become a
major revenue stream for artists. Fans are spending more money than ever on
attending concerts, as well as purchasing food, drinks, and merchandise at the
shows. Further, these fans will not only remember their concert experience, but
the experience that led up to the event. Until now, nobody has tried to create a
service that attributes itself to the pre-concert experience.
That is the premise of Seek: to create a service in which a memorable concert
experience begins with locating the show.
● Seek will produce a show in complete secrecy with an artist and a venue.
A month prior to the show, the name of the artist and the date of the show
will be teased to the public as a Seek show.
● On the day of the show Seek will blast clues about the location of the
show on the Seek app.
● Consumers will have to follow the clues to find out the location, but once
discovered, consumers will be prompted to plug the location into the app.
● If consumers guess correctly, they receive discounted entry, line jumpers,
potential VIP passes, etc.
● If they don’t guess correctly, they are prompted to try after again after a
few more clues!
● Consumers who don’t try to find the location will be told an hour before the
concert the location of the event, allowing everyone to attend!
Our customers, a group of live-seeking fans, will have the option (for the first time
ever) to be incentivized for the pre-show experience that they were already
having before Seek. Not only do we expect fans to use Seek: we expect it to
become a trend in live-entertainment. It will compliment every pre-show event,
from jamming in the car to the headliners music, to the burger run at the local
joint, to the hype moment as you walk through the streets and traffic towards the
venue doors.
Seek: when hunting for concerts goes mainstream.

 

 

 

 


 

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Company Description
Seek is a new service that allows consumers a creative – and interactive – way
to find out about upcoming concerts. Based on the idea of “Where is Fluffy?”
from Nick and Norah’s Infinite Playlist, and from the idea of guerrilla gigging,
Seek will allow fans to hunt down their favorite artist’s concerts, and be rewarded
for doing so.
This service will rely on the Seek contracting medium-medium high range artists
and trustworthy venues to develop concerts through the service. Through Seek,
artists will commit, plan and produce a concert with the service. However, the
concert will be developed in secrecy (creating “Seekret” shows), ensuring that
the idea and integrity of Seek is maintained. A month before the concert is set to
launch, the name of the artist and the city of the performance will be teased. This
ensures that consumers can plan ahead for a concert, to a certain extent.
Consumers will be prompted to sign up for the Seek application for IPhone, IPad
and Android (the idea behind this being that only Seek consumers will receive
exclusive details on secret shows). This application, when downloaded, will
prompt the user to provide their location (or geo-tagging will be utilized to gain
the persons location through the app) in order to give the user details on shows
occurring in their area (initially, this service will only be provided in high density
cities within the USA as a test run, starting with NYC). The application will feature
a section dedicated to the description of how the app works and a section
dedicated to featuring “clues” in the event of a secret show popping up in the
area. However, the section with clues will remain empty UNTIL the day of the
show.
The day of a Seekret show, the user will begin to receive information through the
Seek application. The first clue will provide the band name, reinstate the city of
the event, and announce the time of the event. What will differentiate Seek is that
the location of the show will not be provided. Instead, throughout the day, users
will be provided with clues as to the location of the event. 10 clues will be
provided for each Seek event throughout the day, and clues will be delivered to
consumers on a 80/20 scale (80% of clues will be given through the application,
and 20% will be given at physical locations near the event location. The physical
clues will be provided by local business Seek will partner with in exchange for
increased business for the other party through the partnership and a small
commission). The Seek Marketing team will curate these clues, and every
individual will receive the same clues throughout the day.
There will be an option for the user to guess at the location of the concert through
the Seek app, and for users who guess correctly before the concert begins, they
will receive a discounted pre-show price for a ticket, as well as a line-jumper pass
once they arrive at the show. However, the first 10 people to guess the location


 

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will also receive backstage passes to meet the band after the concert in order to
incentivize the desire to hunt down the location of the concert.
Two hours prior to the performance, anybody who has the Seek application will
receive the location of the performance. This will allow people who didn’t
discover the location of the show correctly to have the information in order to get
to the concert. The Seek Facebook/Twitter pages will also post the information
about the show, allowing outside users who don’t have the app to know a concert
is occurring. These users will pay full price at the door to attend the concert, and
tickets will only be available based on how many tickets were sold through the
Seek app during the day. When all is said in done, the result is to have a
successful show with fans coming away from it feeling that the experience Seek
gave them made their concert experience much more enjoyable by creating a
“feeling of exclusivity and intimacy” to those who used clues to find the location of
the show themselves.

 

 
Highlights
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Seek hires artist’s/venues to produce a “Seekret” concert. This concert will
be teased a month before the show date.
The location will not be disclosed until the day of the event through the
Seek application for smart phones and consumer participation.
Clues will be given to consumers through the Seek application as to where
the location is the day of the concert.
10 clues will be administered per Seek event.
Clues are 80% application administered, 20% physical administering.
Consumers plug in their location guess on the Seek application.
Correct guesses for the location will give consumer’s incentives
(discounted door tickets, line-jumper passes, potential VIP passes).
2 hours before the concert, the location of the show will be blasted on the
application and through social media so others can attend (they attend for
full-priced tickets).
This service creates a pre-show experience that will make them feel
exclusivity and a sense of intimacy heightened by the effort they took in
locating the show.

Goals and Objectives
Ultimately, the goal for Seek is to become the leading innovator for a pre-show
concert service. We want to be known for our engaging service, our fair
competitive nature, and our ultimate end product (a show that consumers want to
hunt down and look for). We want to put on the best shows, and give consumers
the best experience leading up to that.


 

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Our objectives will be to fill our venues to at least 80% per show, to garner at
least 1 million downloads of our application, and to begin seeing a profit within
the business by our third year.
Critical Success Factors for Seek
The concept of Seek lies heavily on a grassroots, guerilla mentality, and there
are many factors that need to be maintained in order for Seek to run smoothly
and efficiently, while still maintaining an image.
1. The Secrecy of Venues – Seek will need venues to be able to remain
quiet about a Seekret show if they decide to work with Seek. While Seek
could work in non-conventional locations, such as repurposed spaces or
parks, the cost to hire a production team for those purposes is avoidable
by using a venue’s production team. These venues will need to be
contractually obligated to hold the Seek secret.
2. The Secrecy of Artists – Artists and their management/labels need to also
remain quiet about shows, but to a lesser extent than the venues. They
can tease that they will be participating in a Seek campaign, but by no
means can they promote the venue location in any way.
3. Promotion – With the secrecy of artists being said, we need their
promotion, as well as effective marketing campaigns, to drive consumers
to use the application and participate in a Seek campaigns. The choice of
artist will be integral to this, but also the platforms in which we advertise
will also be important to our success.
4. Artist Choice – For Seek, artists will need to be big enough to attract
attention to Seek shows, but small enough to maintain a guerilla attitude.
In initial start-up, these artists can be known as relatively known in relation
to their location and be a good fit for Seek (for example, as Seek starts in
NYC, we would hire artists that are known in the NYC scene, but still small
scale).
5. Curating of Clues – Clues created by Seek need to be a balance between
detectable and discrete. We cannot give away obvious information, but
need to be able to articulate information properly, and with cleverness, in
order to keep peoples interest peaked and to allow them to discover the
location of an event.


 


 

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Company Structure
Alexandra Morancy- President/CEO

Alexandra Morancy is the founder of Seek, and assumes the position of
President/CEO of Seek. Growing up in Waterboro, Maine, Alex attended
numerous concerts as a teenager and found her passion to work in the music
industry. She attended Emerson College in Boston for a B.A. in Sound
Design/Audio Post-Production, where she would learn how to record music in
professional studios and learn the craft of sound design for film/television. When
she wasn’t busy taking courses at Emerson or working odd jobs outside of
school, she was found in the on-air booth at both 88.9 WERS and ETIN
(Emerson College’s radio stations). Further, she was involved in the live mix
department, street team department, and production department at 88.9 WERS.
After graduating from Emerson College in 2013, Alex would further her education
by attending Berklee Valencia in Spain for her M.A. in Global Entertainment and
Music Business. With an expected graduation date of July 2014, Alex has
involved herself in her studies, with a heavy interest in courses involving live
entertainment/production. She is also currently in charge of social media
marketing for the first inaugural TedxBerkleeValencia event that’s taking place
June 2014.
Her background is in marketing, sound design, and radio communications. In her
studies, she is focusing on Live Entertainment, which is where the idea for Seek
originated. She also has a personal blog, Heavy Bass and Breakdowns, where
she reviews albums, interviews artists, and reviews concerts.


 

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IV. Analysis
Industry Analysis
Industry Competitors
Seek’s competitors can be classified into three different categories: 'Do It
Yourself' artists, services, and applications. This section will contain detailed
descriptions of each competitor classifications and a brief analysis of specific
competitors within those classifications.
'Do it Yourself' Artist's (DIY)
DIY artists are the most direct competition towards Seek. These artists create
live concert campaigns with the help of their professional teams, which is also
referred to in some contexts as “guerrilla gigging.” This mentality is typically
associated with punk rock (or many other genres within rock), although this
model is rapidly changing as more artists are trying new methods of performing
live music. This can be illustrated through the following case studies:
Two of the first original guerrilla gigs that are documented were performed by
Jefferson Airplane and The Beatles (in 1968 and 1969, respectively). Both of
these impromptu shows were performed on rooftops (Jefferson Airplane’s on a
midtown rooftop in Manhattan while The Beatles performed on top of Apple
Studios in London). These shows were brief, as both bands would be kicked off
the spaces due to noise complaints. 1
In 2007, Nine Inch Nails "Year Zero" album release, featured a multifaceted
internet scavenger hunt that utilized, "cryptic phrases on T-shirts to Orwellian
Web sites to MP3s found on USB drives in bathrooms at NIN (Nine Inch Nails)
concerts."2 This concept then relied on user participation to further the hunt by
attending more gigs.
The last, and most recent, study is a series of 'Guerilla Gigs' performed by Prince
in London this past February. The details of the intimate concerts were released
last minute and began in small venues, such as soul singer Lianne La Havas'
living room later expanding to larger concert venues.3


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
1
Tusman. Really Free Culture. 294-295.
2
http://www.reuters.com/article/2007/04/02/us-nineinchnailsidUSN0233620220070402
3
http://www.theguardian.com/music/2014/feb/05/prince-plays-secret-london-gigs


 

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These tactics seem to have one common theme, providing a unique and
immersive fan experience that incubates conversation fuelled by social media
resulting in increased levels of anticipation and fan interaction.
Services:
Services provide users with a means to attend concerts (even though there are
no known direct competitors to Seek, based on our type of service).
Sofar Sounds is a service that "curates secret, intimate gigs in living rooms
around the world," and is our major service-based competitor. Typically, they
spotlight emerging artists introducing them to "music influencers" and streaming
the events to connect the artist to potential fans and new audiences. Recently,
Sofar announced that they would be expanding their influence to now include a
'secret music festival' Sofar+, which will be held April 26th this year in London.4
This would be seen as the closest competitor to Seek, as the secret show is the
closest thing to what Seek offers, without a clue-based service to help users find
the festival.
Another web-based service that allows viewers to watch videos of guerilla gigs
online is Guerrilla Gigs. The site documents, provokes and promotes the art of
guerrilla gigging, and provides a one-stop shop to view guerilla performances all
over the world. While they currently do not offer any means of attending these
concerts, they provide a free space for users to view performances instead of
having to go out to find them themselves. 5
Applications:
Applications are smartphone based services that give the user a means to
attending live performances.
Bands In Town is a Facebook and iPhone application that aggregates live
concerts by way of geo-tagging based on a users location. The app presents a
great value added position for acts with both the active and casual concertgoer
segments by providing impulse buying opportunities and platform promotion.6
Timbre, like Bands in Town, is a live music discovery application based on geotagging. However, this application also allows for users to listen to samples of the
artist's track. In addition, if the user is also a Spotify 'Premium User' they have
the ability to listen to the full track as it is fully integrated with Timbre.7

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
4
http://sofarsounds.com/#!/landing
5
 http://www.guerillagigs.com/index.php
 
6
http://www.bandsintown.com/home
7
http://www.timbreapp.com/about/

 


 

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Gigbeat is an Android application that allows you to search for concerts based on
artist choice, location, or venue. The application provides a home screen,
allowing you to store events you want to attend, and adds events to your
calendar. If the user chooses to allow the application access to their music
library, the application will show events of interest based on said music library.
Through Gigbeat, you can also purchase tickets to concerts via Songkick. 8
Songkick is a website and application based service that allows you to track your
favorite artists and receive notifications about when that artist will be performing
in your vicinity. By signing up for Songkick, you are also able to purchase tickets
on their application, and will receive notifications at to when the concert tickets
are dwindling. 9 In 2012, Songkick would create a complimentary service for the
web named Detour, which allows users to pledge to have certain artists perform
in their area. If the artist decided to play the show, the pledgees would be
guaranteed tickets out of their pledge amount. 10
Thrillcall is an application that provides up-to-date concert information for its
users. Not only does it provide concert listings (which can be based out of big
cities, if you prefer) and live music news/updates on future tours, but Thrillcall
provides its users with last-minute ticket deals, exclusive tickets for sold out gigs,
and even backstage passes. This gives users the opportunity to take part in a
concert experience last minute, or plan for a bigger experience if they go for the
backstage perks. You are able to purchase your tickets through the application
(Thrillcall makes its ticket deals exclusively with the venues/promoters. 11
Lastly, Jamebase is currently the premiere application service for live music
information. The database holds tens of thousands of shows, including local gigs,
nationwide tours, and music festivals. Similary to Gigbeat, you can also choose
to allow the application to access your music library, customizing your database
results based on the artists you love. Gigbeat also offers up photo libraries for
concerts, a forum for open discussion, and contest information for upcoming
performances. 12
This application list indirectly competes with Seek, but is worth acknowledging
due to their opportunities for users to hear about upcoming shows.


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
8
http://gigbeat.fm/
9
http://www.songkick.com/
10
https://detour.songkick.com/
 
11
http://thrillcall.com/
12
http://www.jambase.com/


 

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Porters 5 Forces Model

Bargaining Power of Suppliers:
Due to the collaborative nature of Seek, external parties partnering in projects will
be able to freely negotiate terms and details in order to help generate a
campaign that best works with their specific live show. Each Seek campaign will
be unique in its own right and will be built upon fair negations as a means of
benefiting participating parties (Seek + collaborators). However, once Seek
begins to create a presence on the market, the bargaining power of Suppliers
may rise.
Bargaining Power of Customers:


 

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Users are able to negotiate through the Seek application indirectly by correctly
guessing where the concert will take place. The sooner the user is able to
determine the secret location of the concert, the more benefits he/she will have
for the time of the show. The bargaining power of the customer hinges on their
ability to follow the clues provided by the application.
Threat of New Entrants:
Creating apps requires resources. For this reason, entering the application
market is relatively straightforward, and there are many services that exist that
can develop applications for clients. The threat of new entrants willing to put in
the time and development (or having the money to have someone develop and
application) needed to create an application like Seek is high.
Threat of New Substitutes:
There are other applications that operate within live music, however none of
them directly partner with promoters, venues, and bands to create promotional
campaigns around concerts. Consumers could potentially use other applications
and websites to discover shows, although they would be missing the “find it
yourself” experience that defines the Seek brand. Additionally, artists could
bypass Seek altogether and create their own secret promotional campaign.
Essentially, while Seek will be the first one in the industry to create this specific
service, it doesn’t stop other service providers from trying to offer something
similar. Seek will work to copyright the idea for this service once production of the
application takes place.
Competitive Rivalry in the Industry:
As previously mentioned, Seek operates within a popular realm within the
entertainment industry yet manages to assume a unique position due to its
experiential offerings. Consumers may utilize other services within the live
entertainment market, however these services may not act as a substitute for
Seek and it’s offerings. Rivalry, in this regard, is relatively low.


 

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SWOT Analysis

 

Strengths
 
Secrecy
 In
 Performances
 

Weaknesses
 
Heavy
 Reliance
 on
 Consumer
 Participation
 

Application
 Reliability
 
Strong
 Incentives
 For
 Participation
 

Artist/Venue
 Trust
 
Uncertainty
 in
 Ticket
 Sales
 

Mid-­‐Range
 Artist
 Selections
 

Expense
 of
 Incentives
 

SWOT
 Analysis
 

Opportunities
 
Partnerships
 with
 Artists
 
Partnerships
 with
 Booking
 Agents/Local
 
Businesses
 
Complete
 Control
 of
 Concert
 Development
 

Threats
 
Corporate
 Entertainment
 Companies
 

Pricing
 Model
 
Partnerships
 with
 Labels
 
Video
 Streaming
 

 
Strengths:
1) Secrecy in Performances- Seek will be the first live entertainment service
to create all events in complete secrecy. Seek, in a sense, takes the
promoter aspect of producing a concert in it’s own hands, getting rid of
any middle man in order to maintain the integrity of the performance.
2) Application Reliability- Seek will not launch its application without
complete beta testing in order to ensure complete reliability and in order to
gain the trust of our users. The Seek service is pivotal on the quality of the


 


 

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application. The production schedule of the application can be found
further down in the operational plan.
3) Strong Incentives- By offering discounted entry tickets, line jumpers, and
VIP passes to users of Seek, it will make the use of the Seek service
desirable beyond the experience of hunting down the shows, and gives
the service a monetary value to consumers.
4) Artist Selection- Seek will work with mid-range artists (more geared toward
rock music, as is popular with guerilla gigs) where the “underground”
hunting of shows will be more fitting. Users won’t be attracted to hunt
down smaller artists, while the idea behind the underground feel won’t
match with superstar types.

Weaknesses:
1) Consumer Participation- In order for Seek to work effectively, we need full
participation of consumers on the application. If they aren’t inspired to use
the app, and if the incentives don’t entice the user, then the service will be
deemed useless. If this happens, Seek will have to look into further
incentivizing their offerings.
2) Artist/Venue Trust- Seek needs to be able to trust the artist/band and the
venue the concert is taking place in to be hushed on the matters of the
concert. If the artist or venue discloses the plans for a concert, the illusion
would be lost for Seek. Seek is trying to avoid this issue by blasting the
name of the artist, date, and city of the concert a month before the
performance (while consumers cannot prepare for the location of the
show, they can prepare to be in that city on that date).
3) Uncertainty of Ticket Sales- If users don’t utilize the app, Seek will not be
able to sell tickets for the show. Seek will also offer box office tickets, but
the hope is to sell a majority of tickets online through the application.
4) Expense of Incentives- The cost of offering incentives to consumers would
have to be sensitive to an overall break-even point for Seek and all other
parties involved.
Opportunities:
1) Partnerships with Artists- If Seek partners with artists, consumers can look
forward to these artists utilizing the service, and it opens up potential to
attract more users of the application/service.
2) Partnerships with Booking Agents/Local Businesses- Seek will be looking
to partner with booking agents and local businesses, which ensure both
parties receive business from Seek. In exchange, Seek could benefit by
targeting more artists and consumers.
3) Complete Control- Seek has complete control of the show, especially
when it utilizes its privacy policy. This allows for a controlled environment
when developing/announcing the concerts through the service, whereas


 

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competitors have potential outside influences affecting the product they
are delivering.
4) Pricing Model- No other competitor of Seek is currently incentivizing their
service use with discounted entry costs to their concerts. By utilizing this
model, Seek heightens it’s chances of consumer use.
5) Partnerships with Labels- Bandsintown currently works/partners with
labels as part of their service. This might help lead to financial support
from labels, a larger pool of artists to work with, etc. Seek could benefit
from the resources available when partnering with a label.
6) Video Streaming- Competition, like Sofar Sessions, is utilizing concert
streaming as part of its business model. Seek would like to explore live
streaming its concerts as part of its branding model.

Threats:
1) Corporate Entertainment Companies- Major market shareholders, such as
Livenation and AEG, are known for their acquisitions of successful
entertainment startups. If they acquire any of our competitors, Seek would
be faced with the challenge of breaking through the majors for visibility
and recognition.


 

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Market Analysis
Socio-Demographic Analysis
While Seek will be available for use to all demographics, our team will focus our
attention to attract a more direct group of consumers.
1) These consumers will be between the age group of 18-34, and will be both
male and female.
2) They will be fans of mid-level range artists, preferably with an interest in
rock genre music (Seek’s initial artist’s will more than likely come from
within that category).
3) This group will find value in attending live events to see their favorite
bands, and will spend good money to attend a concert. However, being of
a younger demographic, they will appreciate any opportunity to cut
corners and save cash when they can, especially when it means they can
spend more money within the venue (food, drinks, merch, etc.).
4) They will be experience driven, spending a lot on food, drinks, and
merchandise.
5) They will be tech savvy, constantly tuned into the newest applications and
the newest devices. They will be very tuned into what is going on around
them in order to remain present.
6) They will have an appreciation for not only the event, but the process of
getting there (the drive to the show, the pit stops, the people they meet
along the way, etc.).
There will also be a secondary group Seek will target. This group, known as
Social Drifters, will partake in events as long as the general crowd is going. They
might be neutral towards the band and the concert, but they are experience
driven and desire social connection. For them, they love the idea of attending live
concerts and experiencing new things, and should be considered as an audience
for Seek, since the service is experience driven.

Market Segmentation
The two criteria chosen to segment the market would be an analysis of a
behavioral segmentation and lifestyle segmentation. Firstly, with the behavioral
segmentation, Seek segmented music fans based on the “extreme music fans”
and on the opposite end, the casual music consumer. For the lifestyle
segmentation, we analyzed the spectrum of concert attendees, from the
enthusiasts to the drifters. These two segments were chosen as a result of
analyzing the customer segments for Seek, which rely heavily on how much of a
fan a consumer is (if Seek presents an consumer with an artist they love, they
will be driven to use the application) and how much the consumer indulges in live


 

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entertainment (those who enjoy seeing live performances will be driven to use
Seek).

The consumer segment Seek will focus its attention on is the “Die Hard Fan”, or
the consumer found within the upper right quadrant of the graph. This choice was
made due to Seek’s niche market for live entertainment. Extreme music fans will
be drawn to Seek with our selection of artists creating shows through our service,
while the concert enthusiasts will be drawn to our new, unique approach to live
as a form of differentiation for their usual concert fix.
The secondary group Seek will hope to involuntarily reach will be the “Social
Drifters.” Because the Seek application is a service that highlights live


 

19
 

entertainment as a whole, these consumers may be compelled to use the
service, even if they don’t know the band. However, our efforts will not be
directed toward them initially. Further down the line, it would be wise to try
marketing to this group in order to gain more revenue and users.

Market Research
Primary Research
Upon deciding how to conduct research for Seek, the management team had
decided to focus on obtaining quantitative and qualitative data from our poll
candidates. We designed a survey/questionnaire through SurveyMonkey (which
was then distributed online to people within the target audience) that focused on
finding quantitative numbers (example: how often do you attend live
performances?) and qualitative information (example: what was your best preconcert experience?). The data we obtained from the data is as follows:
1) 51 people took the Seek survey, and all were within the age
demographic of Seek consumers.
2) When asked, “How often do you attend live musical performances?” the
majority of the group, 39.22%, said slightly often. 27.45% said moderately
often, 13.73% said quite often, 11.76% said not often, and 7.84% said
extremely often.
3) When asked, “Does waiting on long lines for a concert affect your concert
experience?” the majority of the group, 68.63%, said not really, but I
would rather not wait. 15.69% said yes, 7.84% said no, and 7.84% said
they were indifferent.
4) When asked, “Typically, how familiar are you with the artist(s) performing
at the concerts you attend?” the majority of the group, 52.94%, said they
usually attend concerts for artists they know. 31.37% said they only
attend concerts for artists they know well, and 15.69% said they go to a
range of concerts, usually discovering new acts.
5) When asked, “Would you be more likely to attend a concert if there were
incentives (example: discounted ticket prices)?” the majority of the group,
62.75%, said yes.
6) When asked to describe their favorite pre-show activity, the majority of the
group described their favorite activities to be getting dinner or getting a
drink with their friends.
7) When asked to describe their favorite concert experience, most people
mentioned intimate concerts, the idea of connecting to the band, and the
enjoyment shared with friends. One person quoted,” I don't know if there's
one concert that sticks out in my brain. If the music is great and I'm
having fun with my friends, that's what matters. Getting lost in the music
and experience.” 13

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
13
“Seek Survey” SurveyMonkey.


 

20
 

Overall, with the results of our survey, we concluded that consumers are very
experiential. They also recognize the value of the pre-show experience, and also
seem to show interest in incentives offered for concerts. We found these results
promising and an overall asset to the furthering of the business plan (See
Exhibit 1 for graphical representation of our findings).
Secondary Research
Beyond the use of our own data obtained through our survey, the management
team decided to consult the 2014 industry report for Concert & Event Promotion
in the US, provided by IBISWorld.14 Some of the key finds we focused on within
this document are as follows:
1) Attendance and consumer spending will trend upward, but so will
competition.
2) Revenue in this industry is at $24.9 billion, and saw an annual growth of
1.4% between 2009-2014. It is expected to grow 2.9% between years
2014-2019 to $28.7 billion.
3) Higher ticket prices are expected to drive higher concert attendance and
increase spending on parking, merchandise and VIP packages.
4) Between 2014-2019, the number of industry establishments is estimated
to grow at a rate of 1.2% annually to 53,632.
5) While ticket sales are still the major source of industry revenue, its
important to maximize alternate sources like sponsorships, artist services
and merchandise sales.
6) The major markets in live entertainment are men aged 21-45 (26.4%) and
females aged 21-45 (24.3%). These groups spend the most money to
attend events but are the most susceptible to marketing and sales within
the venue.
7) The major business locations for live entertainment are California (12.3%),
New York (11.2%) and Florida (6.6%).
8) There are over 50,000 promoters in the USA, and because of this the
industry is extremely fragmented. Promoters have limited reach and few
employees.
9) Livenation is the biggest entertainment company and currently takes up
16.2% of market share. Anschultz Company owns the second biggest
market share with 4.6%.
10) Demand to attend concert correlates with consumer leisure time.
11) Industry barriers are decreasing as technology changes (internet, social
media, applications).
What Seek can conclude from this data is that we are entering a very
desirable industry, but that the competition within the industry will increase

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
14
 “Concert and Event Promotion in the US,” IBISWorld Industry Report.


 

21
 
with the industry increase. We feel validated in our incentives when noting
that more people are spending money on complementary packages when
attending concerts (Seek will be offering them at a discounted price/free). We
also feel validated in choosing New York City as our test market, as it is the
second biggest market in the country. We will keep our eyes out for
Livenation, and wish to remain independent and separate from the major
companies in the sector.
Ultimately, while we should find it fairly easy to enter the market initially, so
will other companies. We will keep all this information in mind as we move
forward with our business development.


 

22
 

Internal Analysis
Life Cycle Analysis
Live Entertainment Industry:

Currently, the Live Entertainment industry sector has been following a very
steady growth period for over 15 years. Overall, the entertainment industry has
had an increase of 66% between 1998-2010,15 and entertainment/media
spending worldwide increases at an annual rate of 5.5%.16 While the industry has
hit maturity, there is no reason to worry about the current state of the live
entertainment sector. Where consumers are purchasing less physical media,
they are making up for it in purchasing live concert/performance tickets. This is
demonstrated in the IBISWorld industry report that states that while the life cycle
is in maturity, the growth of revenue within the sector is growing with the same
pace as the economy (with a growth in IVA in line with GDP growth) and there is

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
15
https://www.techdirt.com/articles/20120129/17272817580/sky-is-risingentertainment-industry-is-large-growing-not-shrinking.shtml
16
http://www.reportlinker.com/ci02088/Media.html


 

23
 

a market acceptance for the industries products and services, with are
established. 17
This industry analysis only ensures that this aspect of the industry is a desirable
one for Seek, whose focus is on producing live entertainment.
Application Industry:

Further, the application industry is also experiencing a growth in the market. As
of 2013, downloads for IPhone applications reached $48 billion and Android
application downloads reached $50 billion.18 In addition, global revenue from
application store was expected to rise 62% in 2013 to $25 billion, and on average
consumers spend 2 hours daily on their phone applications.19 People are
accessing more and more phone applications daily, making the market desirable
to enter. Since a majority of Seek’s B2C communications/functions will be
happening through the Seek phone application, it is integral that the application
industry is in a healthy state.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
17
 “Concert and Event Promotion in the US,” IBISWorld Industry Report. 11-12.
 
18
http://www.mobilestatistics.com/mobile-statistics
19http://online.wsj.com/news/articles/SB100014241278873232937045783344015
34217878
 


 

24
 

The Seek application should benefit from both industries it is entering, as they
are both currently stable, making profit, and reliable to consumers.

Department Structure

CEO

COO

Assistant to
COO

CMO

CFO

PR/Legal
Affairs

Application
Developer
(Technical
Department)

The department structure of Seek (which will be further analyzed in our
operational plan of action)* will initially be structured according to the diagram.
The CEO will be in charge of all parties, and the only position that will have
assistance will be the COO. Further, under supervision of the COO, there will be
our application developer located in house. Otherwise, with Seek starting at a
small scale, this structure will be acceptable initially, but will grow with the
business as it gains momentum. At that point, Seek will look to hire more outside
help, or even offer internships to students.
* The descriptions of each associated manager are located in the operational
plan.


 

25
 

Value Chain
Primary Activities:

For Seek, it is crucial to understand the importance of the primary activities within
the service, since it will all be done in-house. The descriptions of each activity are
as follows:
Logistics is the starting point for Seek on the Value Chain. Logistics deals with
articulating/preparing all major concert details and confirming the artist and the
venue (which includes seeking out artists/venues interested in our service). This
is where financial aspects are drafted up, as well as privacy policies, riders, and
contracts. Logistics will also be in charge of drafting up a preliminary plan of
action per show, and making sure partnerships with outside businesses are
made.
Operations includes all of the production aspects before the day of the concert.
That includes working with all production techs and the venue before a
performance, fulfilling stage plans and riders, and assisting in all artist needs.
Marketing is the unique aspect of Seek that requires artistic curation. It begins a
month before the concert happens when Seek blasts the name of the artist, date
of the show, and city of the show to its users. Marketing is in charge of creating
clues prior to the day of the concert and mapping out the delivery of clues the
day of the show. During the show date, marketing is in charge of sending out the
clues, monitoring ticket sales, and dealing with any customer inquiries.
The Service is the final outcome for Seek, which is the concert. This includes the
concert performance, box office ticket sales, and assisting artists/production
techs/ the venue workers with whatever is needed.
Finally, Sales & Analysis handles financial outcomes, profit/loss margins, and
analyzes the success of each performance. Each concert will go through a period
of analysis for SWOT and will create reports on how to improve on our service for
management to view and act upon.


 

26
 

The three internal activities, that focus on production/marketing/concert will
require the most manpower, and will require the most strength in order for Seek
to be functional. Logistics and Sales/Analysis, while highly vital, will require the
most time, and will need to be thoroughly completed.
Support Activities:

The support activities from Seek include all the infrastructural departments within
the company.
The Team Infrastructure consists of all upper management roles within the
company, which were mentioned in the company description. They are in charge
of overseeing all activities related to their specific roles within the company.
The Technology department includes everyone within the
Development/Maintenance team. This department is located directly underneath
the main team infrastructure due to the importance of our application as part of
the execution of this company.


 

27
 

Infrastructure Assistance follows the technological department and is in charge
of paperwork, negotiations with artists/venues, and part of the analysis after each
show. Initially, this will be the role of the COO’s assistant.
Human Resources will be run initially by the Legal Management of Seek. They
will be in charge of the maintenance/functionality of the internal structure of our
company with an emphasis on employee satisfaction.
Interns are included in this list as to be acknowledged in the final aspect of the
internal structure of the company. However, they are listed in red, indicating that
until Seek is a viable service that needs the extra manpower, they are not
integral to the initial state of Seek’s internal structure. Their importance will come
later when the company grows.
B2B and B2C Chart:

Above you will find the basic layout for the connection of B2B and B2C in relation
to Seek in the Live Entertainment industry. Seek will play a major role between
the venue, consumers, and the artist team, and will make its decisions based off


 

28
 

the overall health of each party. Seek will act as a concert promoter and will not
need one in the value chain (Seek will be performing all the responsibilities of a
concert promoter with our service). The record label, talent agent, and artist
manager will all work together with Seek to ensure that the best events are
planned and executed for their artists. It is at that point where Seek delivers that
information to the venue for confirmation. In the end, Seek will also have a direct
line to its consumers through the application and Seek’s presence at the
performance.

Innovation Analysis

Competitors:
"Concert
Experience" Centric

Seek:
"Pre-Concert
Experience" Centric

Seek is an innovative service because, as shown by our research of our
competitors, no service has been created that makes an experience out of the
pre-show activities consumers normally partake in prior to a concert. While our
competitors – including individual artists, services, and applications – create a
new experience of attending an event for the consumer, Seek takes the concept
a step further. Seek will create an event for the consumer to attend, but calls
upon consumer participation, creating a “pre-show” experience. This differs from
many of our competitors, who simply offer concert information or ticket sales.
While their ideas have shaped some of our ideas for Seek, Seek will be setting
precedence in the live entertainment sector.
With the current economy focusing on “experiences” rather than products alone,
this service brings a new idea into the market. It remains relevant technologically


 

29
 

by utilizing a phone application and social media, but is unique to the market.
While the service invites consumers to participate in the search for the concert
location, it challenges them to unconsciously create new experiences. It’s the
combination of all these things that sets Seek apart and differentiate it from the
competition, who may have one or two of those factors as part of their services.


 

30
 

V: Plan Of Action
Operations Plan
Production
Our service is being produced partially in house (marketing, production, etc.),
and partially through an application developer service for our phone application.
While we are hiring an individual to be in charge of technology/maintenance, we
are more attracted to the idea of using an app developer site to quicken the
process.
All the costs of production can be found in our expenses sheet in our section for
Financial Projections. Any service that isn’t performed in house has been
researched for reputability and functionality, and have met our standards in order
to start-up Seek.
Customer Service will be dealt with, initially, by our CEO and later will be handled
by our Legal Affairs manager. The marketing manager will be in charge of
inquiries and issues related to the service on the day of a performance, and will
also be qualified to assist in customer service inquires if need be.

Suppliers: Ticketing
In order to keep cost down during our first year of business, Seek would like to
be able to keep most of the production of the company in-house. However, there
are some options for outside suppliers that would make the production of Seek
shows easier.
For ticketing, we would look into Crowd Surge or Ticketfly, which would allow
us easy, independent-based ticketing to consumers. Both companies allow for
the marketing of concerts by event owners through their sites (meaning Seek has
extensive control on how their tickets are sold), and the companies line up with
the ideals of Seek; which focus heavily on the independent aspect rather than the
major entertainment services. Both companies are also direct competitors to
Ticketmaster. Tickets will be sold solely through the Seek application, so the
compatibility of these suppliers with smart phone’s is crucial.

Location
We want to be close to our customers and to the vibe of live music in the scene,
so we decided to be placed in Brooklyn, New York were neighborhoods like


 

31
 

Williamsburg and Greenpoint have long rivaled Manhattan as the city's home of
live music and the rent is also cheaper than downtown.
We chose not to invest in office space initially for the startup of Seek, but will
chose to work out of home for the first few years. However, we will still invest in
furniture/equipment for our personnel working within the home, which will range
around $4,000. Eventually, we would like to find a small office space in Brooklyn
that could accommodate our main infrastructure and allow us to operate
exclusively from that space.
Our location would ideally be located close to public transportation in order to get
into downtown Manhattan or other surrounding areas, and parking should be
available in the building for any travel outside of the area (this is implied if we are
working out of home initially). Our initial office hours will be Monday-Friday
10AM-5PM, Saturday-Sunday 12PM-5PM. On a concert day, these hours will be
extended to 9PM.

Personnel
Seek will begin initially with five beginning personnel that will hold administrative
positions, as well as an extra employee that will assist our COO during concert
production. This will not only refine our organizational plan, it will also lay the
groundwork for training future employees. These employees will be hired prior to
the application development, and we are looking for skilled associates who have
a passion for live entertainment. Each associate will have a starting pay of
$20,000/year, which will increase with the success of the business.
Chief Executive Officer:
The Chief Executive Officer will oversee the daily operations of Seek. The CEO
will approve all partnerships, venues, artists and marketing plans as well as
review financial documents and the most serious of public relations issues. The
CEO will also be the ultimate visionary for the future success of Seek by initiating
dialogue on new ideas that will feed our aspirations for growth. The CEO will also
oversee any revisions to the operations plans and implement any new policies
that have been agreed to by the executive board.
Chief Financial Officer:
The chief financial officers main responsibility is to ensure that Seek not only
remains on budget but also generates revenue. The CFO will focus on profit/loss
margins for each show, and will be prompted to thoroughly analyze the strengths
and weaknesses of each show from Seek’s standpoint. The financial department
will be required to monitor day to day transactions and handle all financial
aspects throughout the year including: balance sheets, income statements, cash
flow statements, taxes documents and payroll. The CFO will also forecast future
profit projections to further find ways to increase our revenue.


 

32
 

Public Relations and Legal Affairs:
Public Relations and Legal Affairs will be integral in the maintenance and
functionality of the internal structure of the company. Public Relations will deal
with any public issues with Seek arising from our customers, venues or partners.
PR will be our best resource for reporting problems with our operational plans
and a valuable source of suggestions for future improvements. PR will also
communicate with media to ensure the integrity of our name is upheld. Legal
affairs will ensure that Seek is registered legally in the State of New York and
ensuring that all regulations are being met. Legal affairs will also work with our
lawyers to be sure we well prepared for any legal issues that may arise.
Chief Operating Officer:
The Chief Operating Officer will be responsible for all aspects of the organization
and supervision of our concerts and oversee the development of an articulate
plan of action for the event. The COO will create the interactive teasers and
reminders sent to our users during the month of the upcoming show. The COO
will pre-plan the clues that will be distributed for each concert and work with our
partners to create acceptable offers to our mutual clients. Essentially the COO
will also play the role of a concert promoter by coordinating artist logistics and
organizing the VIP passes and backstage meet and greets. Finally, along with
the CEO, the COO will help with the supervision and implementation of a smooth
running concert.
COO’s Assistant:
The COO’s Assitant will work to find the best venues, partners and artists to
collaborate with Seek and will handle all paperwork and negotiations pertaining
to this aspect of our operations. The Assistant will search for venues interested in
a new means of concert promotion and for venues that are a good fit for the our
services. The Assistant will also find local partners to work with to build and
enhance the pre-concert experience for our consumers. This will create long
lasting relationships with our partners by offering them exclusive access to our
consumers, which, in theory, will generate a surplus of customers for them on the
days of our concerts. Both our relationships with local venues and partners will
also help to establish our presence in our host city. The Assistant will also act as
an A&R agent for Seek by finding the best talent, both locally and nationally who
are interested in the special experience that we create for their fans, as well as
establishing partnerships with booking agents who would be able to assist Seek
in finding talent.
Chief Marketing Officer:
The Chief Marketing Officer’s main function is to market Seek and help create a
steady stream of new users. The marketing team will determine the most cost
effective means in which Seek will be advertised to consumers as well as


 

33
 

creating advertisements for individual artists who will be performing for one of our
concerts. The CMO will also create our website and maintain our social media
presence which will be the main source of information for our services, as well as
facilitate the live streaming on the website. The marketing team will also establish
any beneficial marketing partnerships and explore not just local but national
advertisement strategies.

Legal Environment
Requirements of Establishing Seek
To set up our business we will have to apply for an Employer Identification
Number (EIN). This is an identification number used by the U.S. Internal
Revenue Service, which businesses in general need. It is also known as a
Federal Tax Identification Number and is used to identify a business entity.
Applying for an EIN is a free service offered by the Internal Revenue Service.
State wise, it is also necessary to apply for the Articles of Organization of our
LLC. This is a document outlining the initial statements required to form an LLC
at the State level. It is a necessary document for setting up an LLC in New York.
The fee for filing the Articles of Organization is $200. 20
Requirements to Open Seek
Concerning the overall safety requirements, Portable Fire Extinguishers are an
important part. FDNY regulations require a certain number, type, and placement
of portable fire extinguishers in our office. The type of fire extinguisher depends
on what is burning and therefore depends on our business. The requirements are
detailed in Section 15-02 of Title 3 of the Rules of the City of New York. 21
Businesses in New York City are required to Recycle and to Dispose of all
types of waste through a licensed carting company. The Business Integrity
Commission (BIC) establishes Maximum rates for collection are $15.89 per cubic
yard of loose refuse (volume), or $10.42 per 100 pounds of refuse (weight). 22
Before starting our business we must register with the Tax Department and
obtain a Certificate of Authority and apply for a registration as a sales tax
vendor. This gives us the right to collect sales tax on our taxable sales and to
issue and accept most New York State sales tax exemption certificates. 23

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
20
 http://www.dos.ny.gov/corps/llcguide.html
21
 http://www.nyc.gov/html/fdny/pdf/fire_prevention/pfe.pdf
22
 https://www1.nyc.gov/nycbusiness/description/find-a-licensed-private-carterinformation/operation
23
 http://www.tax.ny.gov/bus/st/register.htm


 

34
 

State wise New York wants employers to deliver Employee Disability Coverage
to employees for an off-the-job injury or illness. For this we need to get a shortterm disability, which is a type of insurance that pays a percentage of the
employee’s income for a certain amount of time if they cannot perform the duties
of their job. 24
Finally, state wise we will need to apply for Unemployment Insurance. This is a
short-term income for qualified workers who become unemployed through no
fault of their own and have sufficient work and wages in covered employment.
The New York City Unemployment Insurance Law obliges employers to pay
taxes to provide unemployment insurance benefits. For this one can simply apply
online. 25
Requirements to Run Seek
For Seek LC to be allowed to sell tickets over our mobile application we need to
register for the Original Ticket Distributor. This will allow us producers to
assign, distribute, and sell tickets for theatrical productions or other events such
as concerts presented to the public in a place of entertainment. 26
State wise Seek LC will also have to obtain a Workers Compensation
Insurance policy with a private insurance carrier, with the New York State
Insurance Fund. Another option is for us to be authorized by the Board to be selfinsured, either individually or as part of a group. The insurance cost would have
to be paid entirely by Seek LC, no amount can be charged to employees. 27
Laws and Regulations that impact Seek LC
The city of New York requires businesses that have gross receipts greater than
$95,000 to file the 4% UBT return. “The Unincorporated Business Tax (UBT) is
imposed on any individual or unincorporated entity, other than a partnership, that
is carrying on or currently liquidating a trade, business, profession, or occupation
within New York City.” 28
New York City is one of the few cities in the country that have their own income
tax which rates range from 2.907% to 3.648%. This is officially called the New

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
24
 http://www.wcb.ny.gov/content/main/DisabilityBenefits/Employer/introToLaw.jsp
25
 https://www.labor.ny.gov/unemploymentassistance.shtm
26
 https://www1.nyc.gov/nycbusiness/description/original-ticket-distributor-registration
27
 http://www.wcb.ny.gov/content/main/Employers/wclcompliance.jsp
28
 http://www.nyc.gov/html/dof/html/business/ubt.shtml

 


 

35
 

York City Payroll Tax. The taxes are due by April 15 and must be paid along
with the New York State income tax. Compliance to these regulations is crucial.


 

36
 

Strategic and Marketing Plan
Mission Statement
“Seek’s mission is to be the first known live entertainment service that
requires user interaction in order to identify the location of a concert. Our
vision is to promote pre-concert experiences among users, provide them
with a unique concert experience through our service, and offer them
incentives to engage them with our product. Further, we believe in
promoting consumer enjoyment and gratification, and our service’s
management will be prepared to keep the consumers opinions in the
forefront while developing our service.”

Operational Strategy
As a new business, establishing a strong brand identity within (and eventually
beyond) our target market is paramount. Our goal of building professional clout
and becoming an alpha pup within our industry will be the result of a prospector
operational strategy. Organizations utilizing a prospector strategy will:
1. Be the “first mover”: We have recognized a hole within the live
entertainment industry and thus will exploit and benefit a unique form
of consumer interaction.
2. Assume an aggressive operational strategy: Developing and
implementing myriad Seek campaigns in our first years of operation
will result in our methods becoming widely recognized within our target
market and commonplace within our industry.
3. Constantly seek new opportunities: Building a valuable and
extensive professional network of business partnerships will allow our
company to grow and will diversify our consumer base.
4. Pursue product development: Utilizing focus groups and surveys as
a means of creating an effective and user-friendly application will be
necessary in building a high quality product and service.
While operating under a prospector strategy will be costly, smart financial
management and price skimming will allow us to recapture our costs and make
the most of our initial activities. Establishing Seek within the live music industry
through an aggressive strategy will create professional growth and allow for the
company to assume a defender, analyzer, or reactor model as the brand
matures.

Marketing Strategy


 

37
 

One key component of the Seek business model is our ability to incorporate
consumers in the event organization process. Each campaign, or “Seekret”
show, will be different; there will be different business partners involved in each
“scavenger hunt” just as there will be varying forms of user interaction in each
campaign. While the variable nature of the Seek model creates difficulties in
defining specific actions for future campaigns, it also acts as a defining element
of our company’s ethos and activity. Concertgoers and users of the application
will anticipate the unexpected regardless of how many times they have
participated in the Seek process.
Promotions
The application itself will be marketed through online music websites and
magazines (Billboard.com, Fader, XLR8R, Rolling Stone). 97% of 18-29 year and
93% of 30-49 year-olds access the Internet, allowing for access of our target
market (18-34 year old concert-goers).29 Marketing for the application will
begin one week before its initial launch and for one week each month
following the launch. Advertising space may be traded for free press
passes/tickets to cut marketing expenses. Additionally, demonstrating the
application at trade shows and conferences will increase brand awareness
throughout the professional community.
Our application will work as a marketing tool in itself, allowing for users to enable
notifications for upcoming Seek campaigns in their area. Repeat customers will
be targeted based on their interests and eventually their location as Seek
expands into other major markets. The cost of marketing through the application
and through other advertising will cost approximately $8,000/year.
We want to create an image of new-age live entertainment necessity, meaning
that people will want to preface their show with our service. We want to
implement in peoples heads that the old way of viewing a concert is boring, and
lacks a pre-show buildup. This service will provide that, and will drive consumers
to use it based on its novelty.

Partnerships
Part of Seek’s initial marketing plan is establishing partnerships with different
companies in order to create incoming financial backing, gain relationships within
the industry, and to create cost-effective solutions for Seek’s expenses that
accumulate yearly. There are two types of partnerships Seek will hope to create:
1. Booking Agents: Seek will look for opportunities to partner with booking
agents in order to provide options for touring artists to utilize Seek’s

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
29
 http://www.pewinternet.org/data-trend/internet-use/latest-stats/
 


 

38
 
service. Seek will provide a small portion of profits to the partnering agent
in exchange for the agent’s business. For example, if a band is planning
on passing through New York during a certain time of the year, the
booking agent could recommend Seek to the artist as an alternative to the
standard concert. By doing this, Seek has a wider reach with the artists
than if we were approaching artists on our own.
2. Local Businesses: Seek would like to reach out to the local community
(this would be the New York city area with our test market) to gain
business partnerships. These partnerships would allow Seek to provide
physical clues through the application, and these physical clues would be
provided at the partnered businesses. For example, through a partnership
at a local bar, Seek could provide a clue for a concert at that bar. Seek
would partner with businesses, ask those businesses to provide incentives
(a free drink, a free appetizer, free/discounted products, etc.), and in
exchange would boost business for these partners. There would also be a
monetary value to this partnership, which would be decided upon once a
partnership is established.

Branding
The brand, Seek, will establish itself as a new-age concert discovery service. The
premise comes from the history behind house shows/underground concerts that
weren’t blatantly marketed (guerilla gigs). These types of concerts required that
the attendee cared enough about the concert itself, and required that the
attendee would take the time to locate the show on their own. Seek takes that
idea and makes it into a challenge, offering users clues to where the shows are
and incentivizing the search. This service takes the rebellious idea of guerilla
gigs and takes it mainstream, creating a hip new way of attending concerts,
feeling like you earned the experience you garner.
Seek will have to have a look that makes it attractive to its consumers, and a look
that looks presentable and fresh on smart phones. The first logo that has been
created for Seek is as follows:


 

39
 

The logo is a simple black and white target with a whole musical note directly in
the middle, which is a play on the music-based concert service Seek provides. It
is a target icon based on the idea of Seek being on finding your end target
concert location. This is a preliminary logo for the company.
Further, the actual application, when being used, will look like the model in the
example screen shots from our Seek promotional video (See Exhibit 2 for
sample screen shots depicting the application look/design).
The clues on the application are made to look urgent, but maintain a clean look.
The color schemes are white and orange: white will be the text and the orange
will highlight an alert, or be a point of reference. Once established, Seek may
look into the use of advertising underneath their clues on the application. In this
case, the format would change slightly, while still maintaining the necessary
information delivered for each clue.

Live Streaming
Seek would be interested in offering a live streaming service, through the Seek
website, that would allow attendees who couldn’t attend the concert to watch the
show from home. This would be offered sometime after the first year of business,
and the pricing model would be somewhere between $10-$15 per month to
stream Seek concerts online (theoretically, we would be producing around 2
shows per month at this point). We would do this after Seek has been
established in order to maintain image and branding of Seek (whereas live
streaming is a great source of revenue for entertainment services, the focus on
Seek is the actual experience of attending a Seek show, utilizing clues). We


 

40
 

would hire a service out-of-house to facilitate the live streaming production, while
the CMO would oversee the display and function of the streaming online during
performance dates.

Pricing
The Seek application will be offered as a freemium model to its users. In time, we
would look to develop a model in which consumers have the option to pay for an
upgrade on their Seek application (somewhere between $1.99 and $4.99). This
upgraded option will take the technology in which many of our competitors are
already using, in which our application will take the information from the users
music library and use that data to emphasize shows being put on that are from
the users favorite artists. This option will also give Seek insights on Seek
consumer’s favorite bands in order to schedule concerts with those artists.
However, this model, again, will not exist initially and has not been accounted for
in our financial documents.
Aside from that, our major revenue sources will be ticket prices. We average our
tickets to be sold at approximately $50 without the discount given to Seek users
who guess the location. Those users will get a $10 discount off the original ticket
price. Unless special circumstances change this, this will be the set price for all
Seek concerts. We will also gain revenue from potential partnerships,
sponsorships, and advertising.

Location
Our test location of Brooklyn, NY has been chosen from a marketing standpoint
due to its physicality to live concert venues and the population within Brooklyn
(and New York City, which we would be inevitably producing shows in) These
factors are important because, inevitably, live entertainment can not be created
from a distance, and you need a good pool of people to be able to attend these
concerts. In 2013, the population in Brooklyn stood at 2,592,149 people30, and
New York City accounted for 8,336,697.31 We considered this a major factor
when choosing to reside in this area and use it as a test market. It is also worth
noting that New York City is also a major United States tourist destination, and
more people are visiting the city regularly than are even being accounted for.
These are all potential Seek consumers in our minds.
We also feel that the location is consistent with the image we are trying to portray
through Seek. New York has had one of the biggest underground music scenes
in history, especially with punk rock in the East Village circa 1980’s. The city
(including its boroughs) is known for their live entertainment, but also for the

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
30
http://quickfacts.census.gov/qfd/states/36/36047.html
31
http://quickfacts.census.gov/qfd/states/36/3651000.html
 


 

41
 

underground concerts that happen there to this day. We want to give people an
underground feel with Seek while making it commercial, so this choice seemed
fitting for our company in that sense.
While this proximity to a vast population is important, it also means that Seek will
be located relatively close to some of its competitors, including small promoters
in the city. While this is a downside, there would be no way to test this service in
a smaller city/town where our chances for success are greatly lowered. We will
also be in closer proximity to many local businesses and booking agents in the
city, so the positives weigh out the negatives in this scenario.
The pricing of our concerts also fits the location of our service. In a smaller town,
you would be hard pressed to ask for people to drop $50 for a concert
experience. In a city where the cost of living is much higher, people will be more
willing to spend more money on a show. This is why locating to Brooklyn is ideal
for Seek.

Ticketing
When using the Seek application, consumers who guess the location of the show
will be prompted to purchase tickets through the application. Intitially, we would
look to explore cheap, free means of selling tickets through our application.
Eventually, we will create an account through Ticketfly or Crowd Surge in order
to sell tickets and provide Iphone confirmation tickets to users. We do not wish to
partner with Livenation at any point, which means the use of a service like
Ticketmaster would be out of question.


 

42
 

Timeline (Year One)
The Gantt Diagram for Seek (See Exhibit Three for Seek’s Gantt Diagram)
shows the process of events that would take place the first year of operations at
Seek, starting July 31, 2014 and ending at July 31, 2015.
The diagram shows the timeframe in which legalities are managed (beginning on
August 1st, 2014), which include the creation of the LLC, the obtaining of our
trademark, and registering our domain (including the creation of Seek sites/social
media). On September 1st, 2014 is when the creation of the application takes
place (this includes Beta testing the application). During the application
development, beginning on the 1st of September as well, is when Seek will begin
to start securing partnerships through local businesses and booking agents, as to
establish ourselves before any real concert production is handled. On October
1st, 2014, Seek will begin advertising for our application (this includes print
advertising, online advertising, and the attendance of trade shows).
The first concert will begin production by November 17th, 2014. On that date, we
will have already confirmed the artist for that date, and will secure a venue two
weeks afterwards on December 1st, 2014. It will be, once the venue is confirmed,
pre-production of the show takes place, up until the day of the show on January
1st, 2015. Beginning on January 16th, 2014 we analyze the data and results of the
first show and use it to dictate our next events.
Future concerts were acknowledged, but not planned in detail (the first concert’s
success will dictate many of our plans moving forward, so the future concerts are
left vague to dictate that). We would love to hold two spring shows between
February 2nd, 2015 and April 30th, 2015, and three summer shows beginning on
May 1st, 2015 till August 31st, 2015.


 

Financial Projections

43
 


 

44
 

Balance Sheet & Income Statement
In order to analyze the financial health of Seek in it’s initial years, we developed a
projected balance sheet and income statement for the first two years of our
operation. In total we will need $500,000 in order to get all aspects of our
business started. We are looking for at least $250,000 of that amount to come
from crowdfunding, angel investment in exchange for ownership of business (35%), or similar kinds of investment. We look to have the remainder of the money
needed to come through bank loans.


 

45
 

Crowdfunding
Starting up, Seek would love to consider the opportunity to crowdfund the
resources needed to start the business. Because Seek isn’t keen on offering
shareholder positions (based on company moral and ideals), Crowdfunding our
money would allow for us to gain monetary support from consumers, and rather
than an ROI to establish and a portion of the company, we would offer funders to
incentives off of their concerts. This could include an extra 20% off their Seek
tickets, guaranteed VIP passes, and Seek swag that we would develop for our
funders. This model is called Donation-Based Crowdfunding, and would be the
model Seek would utilize if it chooses Crowdfunding as an option.
For our company, we would look into using sites such as Kickstarter, Indiegogo,
or Rockethub to fund Seek. There are also secondary sites, such as appbackr,
who would be geared to the funding of the Seek application for smart phones. If
we decide to change our minds on offering investors to contribute to Seek, we
would like to use a site like Crowdfunder to allow consumers to invest in Seek.32
Investors would receive an ROI through ownership of the company, which would
vary depending on how many investors contribute (investments under $1,000
would receive 0.05% share, whereas investors of over $10,000 would receive
between 2-3% share. Amount given and the number of investors will dictate
these percentages).


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
32
http://www.forbes.com/sites/chancebarnett/2013/05/08/top-10-crowdfundingsites-for-fundraising/


 

46
 

Projected Profit

We look to have 10 shows our first year, 20 shows our second, and 30-40 shows
during our third year. Based on the size the venues we are looking at (300-800
person venues) and average ticket prices ($40-$50), we estimate that we will
make around $20,000 a show in gross profit. We can break even in our 3rd year
after our 32nd show based on these numbers (before interest).
Year 1

Year 2

Debt Ratio

.55

.42

Debt to Equity Ratio

1.24

.71

Above a table depicting some of the ratios we have found regarding our financial
projections. In our first year, we have upfront costs that we don’t have in the
second year (including the application cost). These ratios will get even better
once we fully pay back our loan and investors (on our balance sheet, we have
accounted for paying back $100,000 of the $250,000 loan).


 

47
 

Cash Flow Statement

In the cash flow statement above, the statement shows an idealist situation if we
make the full profits we expect to draw every year from Seek. Even if Seek made
half the profits projected above during each year, the company would begin to
see stability within the third year (once bank loans have been paid off in the
second year). This is realistic due to the low cost of equipment, technology, etc.
The biggest cost every year comes from employee wages at $20,000/year, and
the cost for both an artist and the venue.


 

48
 

Expenses Sheet
Cost Analysis of Seek During Year One
Logistics:
Fixed Cost:
Salary Expense
LLC Registration NY Expense
Trademark Registration Expense
Variable Cost:
Artist Expense
Venue Expense
Corporate Tax Expense
Marketing:
Fixed Cost:
Domain Registration Expense
Variable Cost:
Web Hosting Expense
CPC Digital Advertising Expense
Operations:
Fixed Cost:
Application Development Expense
Variable Cost:
Application Maintenance Expense
Supplies/Furniture Expense
Service:
Variable Cost:
Travel Expense
Venue Insurance Expense
Hospitality Expense
Hotel Expense
Sales & Analysis:
Fixed Cost:
Application Analysis Expense

$20,000/year per associate
$200
$325
$5,000-$10,000/show (initial)
$5,000-$10,000/show (initial)
$0.08+
$600-700 flat fee
$60-120
$7,026 (average)
$24,500 (estimated)
$3,675-$4,900
$4,000
$1000
$250-$800/show (estimated)
$100-$1000/show
$100-$1000/show
$0-$155.88

Initial Overall Cost

$285,886.08-$392,926.96
*.30 (30%)

*Estimated Overall Cost

$371,651.90-$510,805.05

*Estimation based on viewing one show for the whole year (with a minimum of ten shows).

Detailed Report
Based on our team’s research of each aspect of the value chain, the above
expenses have been calculated for Seek’s first year of business (the final cost
listed above accounts for the cost of everything in the document, plus a 30%
increase in the amount to cover unforeseen expenses). The results for our
expenses are as follows:
Logistics


 

49
 

This is the beginning stage in our value chain for Seek, which focuses on the
securing of artists, venues, and everything that will be planned for the production
of the concert. Ideally, Seek would be interested in partnering with booking
agencies within the biggest cities (NY, LA, etc.), but initially, until partnerships
with booking agencies happen, the focus would be on contractually getting artists
to work with Seek. For fixed costs, starting salaries for associates would be
$20,000 a year (this initial figure would increase as the success of the business
increases yearly).
The board members of Seek concluded that the location of the main Seek office
would be in Brooklyn, New York (outside of Manhattan). With this information, we
were able to determine the cost of registering an LLC in NY, which came to $200
flat fee.33 Then, for this initial logistics process, Seek would have to register the
“Seek LC” trademark which, through the US Patent and Trademark Office, would
cost a flat fee of $325 every ten years.34
Variable costs for the logistics stage begin with the expense to contract an artist
and a venue for a Seek event. For start, we decided to choose a range between
$5,000-$10,000 per artist/venue, and as Seek’s revenue comes in (or if
partnerships with booking agents occurs), the amount offered to an artist and a
venue will increase. Further, it would be wise for us to look at older bands that
have a large following at this price point. The pricing strategy for an artist or a
venue will really rely on situational factors. Lastly, corporate tax in the state of NY
is calculated based on how much the company is making yearly. It was
determined by our group that the least amount the company has to pay (which
would mead zero profit for the company) would average around $0.08, but would
increase with the success of Seek.35
Marketing
Marketing costs for Seek focus on the creation of a website, along with the cost
of digital advertising on supported websites. Further, all marketing costs for
graphic design, videography, and web design will all be done in house by our
marketing team (those costs will fall under the salary received by the marketing
team). Because of this, our only fixed cost for marketing would be for the
registration of the web domain, which averages in between $600-$700 flat fee
(this figure was provided by godaddy.com, after confirming that seeklc.com was
available for use).
The variable costs in marketing include web hosting, which would average
between $5-$10 dollars monthly, equaling around $60-$120 a year in hosting.36

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
33
http://www.dos.ny.gov/corps/llcguide.html
34
 http://www.uspto.gov/inventors/trademarks.jsp
 
35
 http://www.companiesinc.com/llc/newyork.asp
 
36
http://www.thesitewizard.com/gettingstarted/cost-setting-up-website.shtml


 

50
 

CPC digital advertising expense will include an average of CPC costs per
website that is relevant for Seek to advertise on. These sites include: Facebook
($0.45/CPC)37, Youtube ($0.20)38, Google ($2)39, and the mobile advertising
network ($0.45)40 Looking at these figures, we found that the total average CPC
for a digital advertising was estimated at $0.77. With an estimated average
clicks-per-day within our first year of business averaging at 25 clicks, our total
estimated CPC in year one would average around $7,026.
Operations
The operations aspect of the value chain focuses on the development of our
mobile application, as well as the creation/development of clues within the app,
which will all take place in our office in Brooklyn, NY. Our first fixed cost is based
on our application development expense, which was averaged at $24,500 based
on the requirements needed for the application (Universal iOS app, custom
interface, Social Login, In-app payments for concert tickets, User Profiles,
Integrated with Seek’s website, Custom icon) and based on time required to
manufacture the application.41
Our variable costs lie in the maintenance of our application. The industry norm
for software maintenance is about 15 to 20 percent of the original development
costs. In our case this is would be around $3,675-$4,900.42 We also accounted
for cost of supplies/furniture for the office space in Brooklyn, in which we allotted
$4,000 for the year (this could change if the budget needs to be cut or raised).
Service
When analyzing service costs for Seek, we found that the costs aren’t fixed at all,
but actually variable. While Seek is essentially a promoter-type service, it will
require that bands/artists bring a majority of their production necessities with
them to the show, and that Seek will not be providing them with these resources.
However, some costs we felt we would cover through Seek include travel
expenses for employees ($1,000/year estimated), hospitality and hotel expenses
($100-$1,000/show for each). Seek will also cover the venue insurance cost,
which averages $0.50-$1 per person within the venue. Since our ideal venues for


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
37
 http://techcrunch.com/2013/01/04/early-studies-show-facebook-mobile-appinstall-ads-perform-well-for-devs-indicating-big-revenue-potential/
 
38
 http://www.ppbh.com/how-much-do-ads-on-youtube-cost/
 
39
 http://www.ppbh.com/how-much-do-ads-on-google-cost/
 
40
 http://mobithinking.com/mobile-ad-network-guide/premiumblind
 
41
 http://howmuchtomakeanapp.com
42
 http://howmuchtomakeanapp.com

 


 

51
 

Seek concerts will fill capacities between 500-800 people, our venue insurance
cost should average between $250-$800/show.43
Sales & Analysis
The sales and analysis phase of Seek’s value chain, which focuses on the
analysis of a Seek concert’s overall performance and the success of the Seek
application, will require manpower from associates in order to analyze
information, but will also require the use of application analysis software.
Through research, our company has decided to use App Figures, which is an
application analytics site. There is a free model of App Figures, which Seek will
begin its use with. However, in case of an upgrade to the premium model, the
amount for the premium model was accounted for in our document (premium
offers more analytical services of our application).44


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
43 Waddell, Barnet, Berry, This Business Of Concert Promotion And Touring.
178.
44
http://appfigures.com/

 


 

52
 

VI. Bibliography
1

Lee Tusman,Really Free Culture (Mainz, Germany: PediaPress, 2012), 294295.

2

Michael Paoletta, “Reznor Adopts Unusual Web Campaign For New Album,”
Rueters, April 2, 2007, accessed February 8, 2014.
http://www.reuters.com/article/2007/04/02/us-nineinchnailsidUSN0233620220070402

3

Ben Quinn, “Take Me With U: Prince Gets Intimate In London With First Of
‘Guerrilla Gigs’,” The Guardian, February 5 2014, accessed February 16
2014. http://www.theguardian.com/music/2014/feb/05/prince-plays-secretlondon-gigs

4

“Sofar Sounds,” Sofar Sounds, accessed December 13, 2013.
http://sofarsounds.com/#!/landing

5

“Guerrilla Gigs,” Guerilla Gigs, accessed June 1, 2014.
http://www.guerillagigs.com/index.php

6

“Bandsintown,” Bandsintown, accessed December 13, 2013.
http://www.bandsintown.com/home

7

“Timbre,” Timbre App, accessed December 13, 2013.
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8

“GigBeat,” GigBeat, accessed June 1, 2014. http://gigbeat.fm/

9

“Songkick,” Songkick, accessed June 1, 2014. http://www.songkick.com/

10

“Detour,” Songkick Detour, accessed June 1, 2014.
https://detour.songkick.com/

11

“Thrillcall,” Thrillcall, accessed June 1, 2014. http://thrillcall.com/

12

“Jamebase,” Jamebase, accessed June 1, 2014. http://www.jambase.com/

13

“Seek Survey,” Surveymonkey, created March 17, 2014.

14

Jeremy Edwards, “Concert and Event Promotion in the US,” IBISWorld Industry
Report, April 2014.

15

Mike Masnick, “The Sky Is Rising: The Entertainment Industry Is Large &


 

53
 
Growing… Not Shrinking,” TechDirt, January 30, 2012, accessed March
18, 2014. https://www.techdirt.com/articles/20120129/17272817580/skyis-rising-entertainment-industry-is-large-growing-not-shrinking.shtml

16

“Media Industry: Market Research Reports, Statistics And Analysis,”
ReportLinker, accessed March 18, 2014.
http://www.reportlinker.com/ci02088/Media.html

17

Jeremy Edwards, “Concert and Event Promotion in the US,” IBISWorld Industry
Report, April 2014. 11-12.

18

“Mobile Statistics,” Mobile Statistics, June 2012, accessed March 18, 2014.
http://www.mobilestatistics.com/mobile-statistics

19

Jessica E. Lessin and Spencer E. Ante, “Apps Rocket Toward $25 Billion In
Sales,” The Wall Street Journal, March 4, 2013, accessed June 1, 2014.
http://online.wsj.com/news/articles/SB10001424127887323293704578334
401534217878

20

“Forming A Limited Liability Company In New York,” New York State:
Department Of State, Division Of Corporations, State Records & UCC,
accessed April 10, 2014. http://www.dos.ny.gov/corps/llcguide.html

21

“Portable Fire Estinguishers,” New York City Government, accessed April 10,
2014. http://www.nyc.gov/html/fdny/pdf/fire_prevention/pfe.pdf

22

“Find A Licensed Private Carter Information,” The Official Website Of The City
Of New York, accessed April 10, 2014.
https://www1.nyc.gov/nycbusiness/description/find-a-licensed-private-carterinformation/operation

23

“Register As A Sales Tax Vendor,” The New York State Department Of
Taxation And Finance, accessed April 10, 2014.
http://www.tax.ny.gov/bus/st/register.htm

24

“Disability Benefits,” New York State Workers’ Compensation Board, accessed
April 10, 2014.
http://www.wcb.ny.gov/content/main/DisabilityBenefits/Employer/introToLaw.j
sp

25

“Unemployment Insurance,” New York State Department Of Labor, accessed
April 10, 2014. https://www.labor.ny.gov/unemploymentassistance.shtm

26

“Ticket Distributor Registration, Original,” The Official Website Of The City Of
New York, accessed April 11, 2014.
https://www1.nyc.gov/nycbusiness/description/original-ticket-distributorregistration


 

27

54
 

“Workers Compensation Coverage,” New York State Workers’ Compensation
Board, accessed April 11, 2014.
http://www.wcb.ny.gov/content/main/Employers/wclcompliance.jsp

28

“Unincorporated Business Tax (UBT),” New York City Government, accessed
April 11, 2014. http://www.nyc.gov/html/dof/html/business/ubt.shtml

29

“Internet User Demographics,” PewResearch Internet Project, accessed April
11,2014. http://www.pewinternet.org/data-trend/internet-use/latest-stats/

30

“Kings County (Brooklyn Borough), New York,” United States Census Bureau,
accessed June 1, 2014.
http://quickfacts.census.gov/qfd/states/36/36047.html

31

“New York (City), New York,” United States Census Bureau, accessed June 1,
2014. http://quickfacts.census.gov/qfd/states/36/3651000.html

32

Chance Barnett, “Top 10 Crowdfunding Sites for Fundraising,” Forbes, May 8,
2013, accessed June 20, 2014.
http://www.forbes.com/sites/chancebarnett/2013/05/08/top-10crowdfunding-sites-for-fundraising/

33

“Forming A Limited Liability Company In New York,” New York State:
Department Of State, Division Of Corporations, State Records & UCC,
accessed April 10, 2014. http://www.dos.ny.gov/corps/llcguide.html

34

“Trademarks,” The United States Patent And Trademark Office, accessed April
20, 2014. http://www.uspto.gov/inventors/trademarks.jsp

35

“New York LLC,” Companies Incorporated, accessed April 20, 2014.
http://www.companiesinc.com/llc/newyork.asp

36

Christopher Heng, “How Much Does It Cost To Set Up A Website?” The Site
Wizard, April 7 2014, accessed April 20, 2014.
http://www.thesitewizard.com/gettingstarted/cost-setting-up-website.shtml

37

Ingrid Lunden, “Early Studies Show Facebook Mobile App Install Ads Perform
Well For Devs, Indicating Big Revenue,” TechCrunch, January 4, 2013,
accessed April 20, 2014. http://techcrunch.com/2013/01/04/early-studiesshow-facebook-mobile-app-install-ads-perform-well-for-devs-indicatingbig-revenue-potential/

38

Jason Alleger, “How Much Do Ads On Youtube Cost?” Penna Powers Brian
Haynes Blog, August 7, 2012, accessed April 20, 2014.
http://www.ppbh.com/how-much-do-ads-on-youtube-cost/


 
39

55
 
Jason Alleger, “How Much Do Ads On Google Cost?” Penna Powers Brian
Haynes Blog, December 15, 2011, accessed April 20, 2014.
http://www.ppbh.com/how-much-do-ads-on-google-cost/

40 “

The MobiThinking Guide To Mobile Advertising Networks 2013: Premium Blind
Networks: New Profile DMG,” Mobithinking, June 2013, accessed April 20,
2014. http://mobithinking.com/mobile-ad-network-guide/premiumblind

41

“How Much To Make An App,” Crew, accessed April 20, 2014.
http://howmuchtomakeanapp.com

42

“How Much To Make An App,” Crew, accessed April 20, 2014.
http://howmuchtomakeanapp.com

43

Ray D. Waddell, Rich Barnet, Jake Berry, This Business Of Concert Promotion
And Touring (New York: Billboard Books, 2007), 178.

44

“App Figures,” App Figures, accessed April 20, 2014. http://appfigures.com/


 

56
 

VII. Appendices
Exhibit One: Graph Representation from Seek Survey


 

57
 


 

58
 


 

59
 


 

Exhibit 2: Seek’s Promotional Video Screen Shots

60
 


 

Exhibit Three: Gantt Diagram Showing Seek Timeline (One Year)

61