Member Info for Offler

Would I buy in at this price, simple answer is no. The best thing I ever learned from my father, who first dabbled in shares with British Gas, was with penny shares if you can ‘take your original investment and leave the profit.’ There is no room to manoeuvre, four years to get this low, with the best will in the world how long to get back to 2018 SP, and I have to think what could I have done with that money over 4 years. I could have doubled my holding in Boohoo or Games workshop. At best this is frozen money not working for me.

As someone who bought in 2017 at 7.44 as a result of the Adele press story, sold out my original investment 2018 in two lots at 15.03 and 18.06, only profit invested since than, I’ve had 4 yours of my profit being eroded by 80% and the same this time next week we will all be millionaires ramping ever since. During that time we have moved from VR content to buying Napster when you only have to listen to the news to understand that artists are turning against streaming services.
We had a deal with John Gore, what happened to that during Covid lockdown? We have watched theatre groups offer streamed services, every music ticket companies offer streamed gigs online. We missed ever opportunity to take advantage of the new world. All we have had since then is ‘coming soon’ when is soon and what do we have that is better than any other streaming service?

Anyone going should take a flask and some sandwiches, because if refreshments are promised the best you can hope for is coming soon possibly in time for next years AGM

Have a look at Kingofkeithley posting history, full of next week is takeoff week, can’t find a prediction that has come to pass. Ramping is no better than disramping. Make up your own minds about this share.

Just received my weekly updates from ticketmaster and what on stage, more than 20 live pay per view streamed events again. What are we offering. Jack as usual, in fact I have never received an email from EVR, Melody or whatever we are called this week. We have product how about we trying selling it to the public.

Perhaps the answer is a Status Quo concert, they could open with ‘Down Down Deeper and Down

The only way West Ham will get into Europe is if there’s a war ??

Completely agree, it feels like this board has been taken over by a combination of desperate rampers and Stepford investors. Nothing they predict or suggest will happen ever does and some hint at insider knowledge or a contact and suggest good news. We never get the predicted RNS due out Friday/next week/by the end of Aug etc. I followed the Sirius board towards the end (wondered if it might be worth a punt, obviously not) but often use boards as part of my research, and the rampers here sound just like the rampers did on the Sirius board when they were trying to encourage the PI’s to stay in.

I see that based on their own figures Drift made 48k from their first event, have held a few more since with reasonably well known artists and have a future line up of over 40 events planned, and that’s a start up from the beginning of lock down. We could do with some of whatever they are drinking.

Albert, Dracula has a couple of reasonable reviews and might be Worthing blowing your last credit on.
Regards Offler

Morning Albert not a problem, very pleased to hear your assessment I started looking for live performances to reply to you and came across the Livr package and was very concerned, but happy to go with your review.

Not going to argue with you, but the National has def been open for filming, the live YouTube viewings of Lungs was produced during lock down at the National, Matt Smith and Clair Foy, released at a max of 1000 viewings per night seven nights per week at £10 a pop, and sold out certainly for the first month that’s 70k per week and in addition to the 16 free streamings.
Livr have also recorded at least 4 shows during lock down at some of those venues.
If you look at the Livr ad and the separate review on YouTube they have 150 live vr shows in their library, as I say at least four of which were lock down filming, they have already released 50 shows with an additional 8 new shows being released each month. They are a subscription based service, £5.99 per month subscription buys you one credit, one credit buys you one show, you can top up any time by buying additional credits which gives you access to additional shows. A VR viewer is also available via the app for £5.99 I’ve seen some of our product and it’s good, my concern is that other providers are equally good but beating us to the off although I have to admit I can’t find any details of their income. Bottom line is I’m invested in melody so want it to succeed I just can’t understand why we lag behind other newer providers.

Albert sorry my fat fingers mixed up 14 and 16, in fact the 14 and your link refers to previously filmed productions being made available in cinemas.
My comment referred to the 16 shows produced by the National at various venues during lockdown including Leeds Playhouse, Young Vic, Old Vic, the Olivier, the National and others and then made available on YouTube https://www.whatsonstage.com/london-theatre/news/national-free-series-shows-youtube-stream_52055.html?utm_source=dailytickets&utm_medium=email&utm_campaign=27july2020

Oh and compared to some of the replies I see on here to anyone who questions the progress, can I thank you Mel for a polite, friendly and considered response.

Completely understand your point Mel, John Gore has been wildly successful, but my point doesn’t change if the national theatre can produce what I understand to be 14 new recordings of shows with the same social bubble issues, resulting in 15 mil views why haven’t we put out anything.

During the last four months of lockdown where we have all been living in a constant episode of ‘Not Going Out’ the National Theatre has produced 16 on line shows via its YouTube channel, free to watch but donations welcomed. Today the viewing figures were announced.....
15 MILLION VIEWS in four months, they said that if each viewing was a sold seat at the Olivier it would equate to a full house every day for 35 years. Now that’s exposure to a product, and keeping a customer base happy.
We have John Gore on board and yet during that same four months not even a sniff of a show. Talk about another missed opportunity to get our product out to a stay at home locked down audience who clearly from those figure were crying out for access to shows.
This isn’t knocking for the sake its genuine frustration at a lack of opportunity taking. I would have settled for a couple of percent of that 15 mil, just to get our name out there into theatre land

With respect Bad Bat if you say something often enough it will happen doesn’t matter if it’s insider knowledge, direction of the wind or the hairs on your chinny chin chin. The problem is that even when you predict an announcement and are right.... Melody doesn’t actually do what it said it would, when it said it would.
All of the companies I mentioned last night are digital ticket vendors who in the space of 11 weeks from a standing start are now each putting out more live music content per week than melody has done in its entire history, some are doing more per day!!
The old Vic has gone from closing 11 weeks ago, to live streamed shows of Lungs, 7 shows per week I believe, 1000 tickets per show at £10 per ticket, plus a donation if you want to make one. That’s without John Gore on board. Has Melody ever made 70k per week? We are supposed to be the market leaders, and yet in 11 weeks we have been left behind by companies with no previous involvement in live streamed events. I don’t need a jump point when the camera is right next to the artist anyway,
Gary lightbody of Snow Patrol has done a weekly live acoustic set from home every week, I get notified by Ticketmaster who actually.y send me emails, he does 10 songs per set, then invites you to their YouTube page where you can view free some of their Royal Albert Hall gig, buy the entire gig and buy the reworked cd, now that’s marketing, we have been left behind with that as well.
To see ticketing companies out do us is embarrassing.

I’ve got money in this I want it to work but............
My point wasn’t the line up, although there is something there for just about every taste. My point is that live streamed events is supposed to be our speciality market, and from a standing start since lockdown just about everybody else is up and running and putting out regular content and leaving us stood in the wings. We have John Gore on board yet other theatre groups again from a standing start are putting out live streamed content, including now live pay per view performances.
Melody so far have announced via social media three live events and then seemingly forgot to post the promised follow up next three.

Just seetickets as an example, doesn’t have any jump points but 27th James Bay followed by Craig David live streams, 29th Take That with Robbie Williams, live streams from their own homes, Hairspray live featuring Ariana Grande, Jennifer Hudson, Martin Short, available for 48 hours. Dropkick Murphy joined by Bruce Springsteen live stream from Fenway Park Boston, Diplo 5 weekly DJ sets.
31st Laura Marlin, followed by the Rolling Stones with an instalment from the Extra Licks tour.
It costs pennies to send bulk emails.

.

Melody has been very good to me, done some good trades, down at the moment having jumped back in a little early, but I’m lucky that I’m only profit invested.
My concern is that I get emails every day for live streaming events, ticket master, ents 24, Event time UK, gigantic tickets, ATG tickets, What’s on Stage (broadway shows streamed for free wonder if any are John Gore productions) Old Vic live streaming of Matt Smith and Claire Foy ,in a socially distanced version of ,Lungs, starting at £10 a ticket.
I’ve registered for updates more than once but never never had an email from melody advertising any available content, Everyone is doing live events, some might only be via Facebook or YouTube but at least it’s something. Am I the only one thinking we are missing the boat here.