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narwatharsh01 · 3 months

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Online Music Market Trends, Players, and Future Outlook

Introduction:

The online music market has experienced a truly remarkable ascension in recent years, driven by the digital revolution sweeping across the music industry. To fully grasp the current landscape, we must delve into key aspects such as market size, growth trajectory, revenue streams, prevailing trends, influential players, and the promising future that lies ahead.

Online Music Market Size, Share, and Growth:

The online music market has witnessed exponential growth, reaching a staggering USD 39.52 billion in 2023, marking a 14.7% increase from the previous year. This remarkable growth can be attributed to the ever-increasing popularity of streaming platforms and the widespread adoption of digital music services across the globe. Streaming reigns supreme, accounting for a dominant 70.8% share of the total revenue generated within the online music market.

Digital Music Market Trends:

Several compelling trends are shaping the digital music landscape:

Shifting from Ownership to Access: Consumers are increasingly embracing subscription-based models, favoring access to vast music libraries over purchasing individual songs or albums.

Personalized Experiences: The rise of personalized playlists, algorithm-driven recommendations, and high-fidelity audio formats are significantly enhancing the overall user experience.

AI and Machine Learning Integration: The integration of artificial intelligence (AI) and machine learning has become a game-changer, empowering platforms to analyze user preferences and tailor content accordingly. This not only fosters user engagement but also allows platforms to anticipate and cater to evolving consumer demands.

Online Music Industry Players:

The online music industry is a dynamic ecosystem teeming with key players vying for market share. As of the latest data, Spotify remains a frontrunner, boasting over 433 million active users and a staggering 182 million paying subscribers. Apple Music follows closely behind with a subscriber base of 80 million, highlighting the fierce competition within the market.

Beyond dedicated streaming platforms, social media has emerged as a significant player in the online music landscape. Platforms like TikTok and Instagram have transformed into influential hubs for music discovery and promotion, allowing artists to reach wider audiences and gain recognition.

Online Music Market Future Outlook:

Looking ahead, the future of the online music market appears resoundingly promising, driven by continued advancements in technology and the ever-evolving preferences of consumers. Projections suggest that the market will surpass USD 103.07 billion by 2030, fueled by the increasing penetration of high-speed internet and the widespread adoption of smart devices.

The demand for exclusive content and original programming is expected to rise, leading to strategic collaborations between streaming platforms and artists or record labels. As 5G technology becomes more prevalent, it will further revolutionize the online music experience by enabling faster streaming and immersive audio-visual content.

In conclusion, the digital music market has become a powerhouse within the broader music industry. With an impressive market size, continuous growth, and innovative trends shaping the future, the industry is experiencing a transformative era. As key players continue to vie for dominance and technology evolves at an unprecedented pace, the future outlook for the online music market remains bright, promising a harmonious blend of innovation and accessibility for music enthusiasts worldwide.

#online music streaming market share #recorded music market #online music player project report #online music revenue #online music market share #online music market size #music streaming service market #music industry #global music #digital music market #market research #business #ken research #market analysis #market report #market research report

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kevinmmiller · 3 months

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Mia Rodriguez Is More Than Just An Episode

Mia Rodriguez is no “Psycho”. Her eyes, Mia Rodriguez’s, which throughout the performance, of her recent video [“Psycho” (Acoustic)], from the very beginning, begin to pierce into the viewer. With their dark purple hue, which accompanies her, the singer’

Mia Rodriguez/Kevin’s Politics Blog Mia Rodriguez is no “Psycho”. Her eyes, Mia Rodriguez’s, which throughout the performance, of her recent video [“Psycho” (Acoustic)], from the very beginning, begin to pierce into the viewer. With their dark purple hue, which accompanies her, the singer’s, Billie Eilish “like”, quality of sound, and ennui. Conjures a sort of, Thai made, Ming Dynasty, Jade,…

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dreamings-free · 1 year

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#anon:#trying not to create discourse so just answering in tags #but yes you’re so right it is ridiculous #like I wasn’t surprised r*ds were being dumb about this #but l*rries too now #like bmg would half ass their first big campaign with their biggest artist #it’s honestly embarrassing seeing fans with clearly no knowledge of how neither the music business nor general marketing practices work #try and school a global record label and it’s marketing team on how to do their jobs #.

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wildwren · 6 months

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hey y'all, since it's spotify wrapped season, can i beg a moment of your time? no, im not about to get on a soapbox about spotify. spotify sucks but that's not what i want to talk about.

did you know that most recording artists in the united states don't have the legal right to organize a union? some musicians are unionized as part of SAG-AFTRA or the American Federation of Musicians (for instrumental musicians), but lyricists and composers are classified as "independent contractors." This decision was handed down by the national labor relations board in 1984 and has not been overturned.

this means that musicians cannot organize or negotiate for better deals from, for instance, spotify, without the threat of being sued due to antitrust laws. musicians who are not represented by a major label or who are not part of a large musical organization such as an orchestra have very little bargaining power. source

fixing this situation will take a lot of work -- there's not a single easy solution. but in an era where we're seeing union growth and historic labor wins, i think now is the time to dream big. musicians need to organize ourselves on the ground to create collective power. we also need wider political interest and momentum around the necessity of musicians' rights.

this isn't time for you to say "yea im never gonna pay full price for music, sorry" or "musicians just have to accept that the market's saturated and devalued." this is time for us to try to envision a music industry where artists can be compensated for their creative labor and music can still remain accessible and easy to discover. changing the labor situation in the united states is just one piece of changing a global music industry, but it could have a big impact on the future.

if you're in the united states, there are two active efforts that you can ask your representatives to support -- one congressional bill introduced by Deborah Ross, and a resolution introduced by Rashida Tlaib.

H.R. 5576 - Protect Working Musicians Act of 2023 - sponsored by Artist Rights Alliance

H.Con.Res. 102 - Resolution for a new Streaming Royalty - sponsored by United Musicians and Allied Workers

i know there is so much to organize around right now. but if you're in the united states and have predominantly used spotify this year, or posted about spotify wrapped, please take a moment to send a message to your representatives about these bills. all you need to do is fill in your info, the letters are already written for you.

and please share this widely. thank you!!

#musicians #musicians of tumblr #spotify #spotify wrapped #labor rights #labor organizing #labor unions #united musicians and allied workers #artist rights alliance

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kookslastbutton · 4 months

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Those Eyes Chico ༓ myg (m) | Teaser

✒ Summary: As the new marketing director for Min Yoongi’s upcoming D-Day album & tour, you’re expected to bring your expertise to the table. This shouldn’t be a problem—you’re the best in the business and you’re used to drawing a strict line between your professional and personal life. But what happens when the lines you’ve fought to keep as separate blur for the first time?

pairing: idol!yoongi x plus size!poc!reader

genre/AU: angst, fluff, smut, slow-burn, coworkers2friends2lovers, winter setting, forbidden love?

word count: tbd, 835 for this teaser

warnings: oc is 28, Yoon is 30, oc is not originally from South Korea, oc has light brown eyes, swearing, mentions of alcohol consumption, mentions of anxiety, panic attacks, body insecurities, fear of being blacklisted, emotionally restrained Yoon, mentions of smoking, unstable parental relationships, conservative parents, mentions of therapy, mentions of dating scandal, eventual sexual content, and more specific warnings per chapter.

now playing: Sweet Dreams by The Last Shadow Puppets

a/n: Okay this has taken over six months to release but it's finally beginning and I am super excited to share! 🫣 I am low-key terrible at choosing a proper teaser so hoepfull this works haha. ANYWAY, this series is dedicated to my wonderfully crazy friend and beta, Gloom @theuselessdaydreamingidiot, and to all our fellow Yoon lovers bc we miss our sweet man SO MUCH 🥺 Enjoy! 🥰 Also huge thank you to @itaeewon for designing this beautiful series header! Love it!!

Series Masterlist

“Did you get the files I sent to you?”

The woman nods her head in affirmation while sweeping a few pieces of her long, silky hair behind an ear. To strangers, she appears to look about 24 which is only four years younger than yourself but nonetheless she’s the same age as you. Hei-Ran is her name, meaning “graceful orchid” according to Korean translation.

Hei-ran is one of Hybe’s newest hires and based on her experience, a near perfect fit to being South Korean boy group Tomorrow X Together’s new marketing manager. Until about three months ago, this had been your job.

You never imagined giving up the position after three years of working in the role. But with December right around the corner Hybe had other plans for you.

"Graduated summa cum laude with a bachelors degree in BTech in Electrical and Electronics Engineering and a MBA in Marketing from NYU Stern. You worked two years as a brand manager for U.S record label Atlantic Records immediately after graduating, and are now working at BigHit Music as a marketing manager for TXT including liaison with their global marketing team.”

You recall PD Bang’s voice vibrate in the back of your mind from mid-August. You thought you were called into his office to discuss details of TXT’s latest promo, so having your resume read back to you was a sweeping curve ball. Your determination must have far exceeded the heaviness you felt in your chest because before you knew it you, you were shaking hands with your boss in acceptance of your role – the new marketing director for Min Yoongi’s upcoming D-Day album & tour.

The tedious knot that’s formed in the nape of your neck reminds you that as surreal as the situation might be, it’s undeniably real.

Months spent drafting a comprehensive marketing proposal for D-Day; often until the wee hours of the night, inevitably takes its toll on even the mightiest of warriors. An entire new team of fifty people, all of who you’ll be in charge of orchestrating for the next eight months, doesn’t provide much to relief either.

You’re excited nevertheless. Working with one of the most respected artists in the music industry is an opportunity you couldn’t let slip by, especially since the album’s rock-inspired genre aligns closely with your own music taste.

“Thank you so much for helping me get settled __,” Hei-ran’s gentle voice returns you to the present. “I appreciate the time you’ve taken these last few months to train me despite the tight deadlines you have.”

Smiling, you shake your head. “It’s no problem at all and if there’s anything you need in the future, feel free to give me a call or stop by my office.”

“On the 16th floor right?”

“1656A. Take a left off the elevator and walk to the end of the first hallway. The door on the right is mine.”

Referring to any room on the 16th floor as your own is something you don’t take lightly. For one the offices are double the size of any other office spaces in the building. Yours in particular has a giant skyscraper window draped with heavy white curtains. Secondly, the floor above is the 17th floor which is exclusive to Hybe artists only.

"How's the proposal coming along, by the way?" Her curiosity is palpable, genuine in its nature. You’ve always appreciated that in an individual.

“It’s done,” you respond. “Only thing left to do is to prepare for our meeting with C-suite executives next Monday. It’s nearly perfect as is, but the presentation could use a bit of refining in terms of organization.”

Hei-ran is silent for a moment longer than usual before her next inquiry, which is undoubtedly the question on both of your minds. “I can't help but wonder what it'll be like to meet him for the first time,” she muses.

You don’t bother asking for clarification on who the “him” is; you’re already well aware that it’s Min Yoongi. The same subject has managed to intrude your own thoughts more and more as the date of meeting him draws closer. It's peculiar honestly, considering you’ve encountered him before. Granted, it was only a small handful of times the hallway, both heading in opposite directions. Min Yoongi typically greeted you with a hoarse 'Good Morning' those instances, along with a curt nod of his head. You would nod back with a brief 'Morning' yourself. Deep down you feel he'd make a quality friend, though it's only a premonition. It’s not like you actually know much about him beyond those small exchanges.

"I'm not sure what to expect, honestly," you admit. "I imagine it'll be similar to previous professional collaborations—composed, focused, and intense. D-Day is poised to become a global sensation for the next year, so it's going to need our full, undivided attention."

Hei-ran gives a knowing nod. “Good luck __,” she wishes you well as you head towards the elevator doors. Breaks over, back to work.

a/n: Chapter one will be released soon 🙃 Thanks for reading the teaser!

Masterlist | Requests: closed | Taglist | Fic Recs

no reposting, copying, or translating my work– © kookslastbutton

#yoongi angst #yoongi fluff #yoongi smut #yoongi x reader #yoongi fanfic #bts fanfics #bts fanfic #bts angst #bts fluff #bts smut #bts scenarios #fic:thoseeyeschico #kookslastbutton

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surra-de-bunda · 1 year

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Mariah Carey & Keisha Epps of Total with Wanya Morris of Boys II Men photographed by Kevin Mazur during Camp Mariah & Mariah Carey's Platinum Party for 'Daydream' (July 1996). 'Daydream' is the fifth studio album by Mariah Carey, released on September 26, 1995, by Columbia Records. 'Daydream' received critical acclaim, with reviewers praising the album's production, its sonic quality, and Carey's musical progression. It became Carey's best reviewed album up to that point and garnered six nominations at the 38th Grammy Awards, including for Album of the Year. It was later included on the List of 200 Definitive Albums in the Rock and Roll Hall of Fame. 'Daydream' became a global success, topping the charts in nine countries, and reaching the top five in almost every major music market. It was Carey's second album to be certified Diamond by the RIAA. As of 2019, 'Daydream' has sold over 20 million copies worldwide and is one of the best-selling albums of all time. Six singles were released from the album. Its lead single "Fantasy" became the first single by a female artist to debut at number one on the US Billboard Hot 100 and went on to top the chart for eight weeks, and became the second best-selling single of 1995 in the country. The second single "One Sweet Day" topped the Billboard Hot 100 for sixteen weeks and became the longest-running number-one single in Billboard's history, holding the record for 23 years. The album's next single "Always Be My Baby" reached number one as well. Jointly, the singles from Daydream spent a combined six months at the top of the Hot 100. To promote the album, Carey embarked on the short but successful, Daydream World Tour, visiting Japan and Europe.

#Mariah Carey #Total #Keisha Epps #Wanya Morris #1996 #xo

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kanmom51 · 7 months

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JK update 2 November 2023

MV teaser

youtube

I do have thoughts about where this MV is going. Will reserve them to myself (mainly because they are probably all crap, but also because I'm really not able to write full on essays at this moment). If indeed I was on the right track I will share them with you later on. If not, well you'll know, lol.

A couple of things I did notice, well so did everyone else:

We got black swan JK. We know who loves black swan JK.

We get black versus white (JK black, the woman in white).

Which is interesting, given that JK is being compared to Michael Jackson by many in this MV, and the black and white motif being played (?), when JK and JM did MJ's B&W dance back way then...

Another interesting coincidence?

And we also have this:

Which is an interesting choice made by JK. Yes. A choice made by JK.

I cannot wait to see what he has install for us.

Tonight show

We're getting JK on the tonight show on 6 Nov 2023.

JK has a super busy week ahead of him, and I guess he'll be off to the US real soon. Because on this coming Monday he has Jimmy Fallon, and then on Wednesday he's on the Today show.

Today show

Funny thing with this one though.

I really don't think this was that hidden event on JK's promotional calendar. You know, that mysterious unknown for 8 Nov.

This feels like a last minute thing. The Citi concert series was actually concerts going right through summer, last one ending 31 September. Nothing in October. JK was never on that list that was planned and pre-announced months ago. And now suddenly JK's concert on 8 Nov. Just JK's concert announced. Nothing else.

And that makes me wonder what was actually planned for this date and why was it changed around.

JK Golden introduction

youtube

So, what does JK tell us?

That the order of the songs has meaning and was chosen on purpose.

That what we were saying all along is just that - the album is targeted for the Western market, hence it being in English.

He also said that he will record a song in Korean (when he can) and to look forward to it. I'm wondering if we have a song in Korean waiting for us pre-enlistment.😭😭

His favourite tracks are the main track - Standing next to you, and Hate you. Although he loves them all.

And again showing us how humble he is, lol.

The man stated he wants to be a global pop star. But when he's called that he feels embarrased.

As for Standing next to you:

"I'll always be with you no matter the situation/conditions".

Anyway, tomorrow Golden is coming out.

STREAM

#jungkook #jk #jk golden #jk standing next to you #Youtube

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sargeantposting · 5 months

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ARTICLE: The Florida Man of Formula 1 (2023)

Source: Michael M. Grynbaum, The New York Times Series: F1, 2023

Logan Sargeant, the only American driver in Formula 1, is zipping around the narrow streets of Baku, Azerbaijan, at roughly 200 miles an hour. His head bounces inside the cockpit as a wheel shudders over a rumble strip. It’s hard to hear over the banshee shriek of his V6 engine, carrying three times the horsepower of a run-of-the-mill Porsche Carrera.

Then the noise stops, and Baku vanishes. We’re inside a low-slung brick building nestled in the Oxfordshire countryside. The track, projected onto a CinemaScope-sized wraparound screen, was a mirage, part of a sophisticated training simulator. (F1 rules prohibit driving the real cars between races.) Mr. Sargeant climbs out of a replica driver’s seat wearing athletic pants. He won’t need a fireproof suit until later.

In three weeks’ time, Mr. Sargeant will do this for real: wind whipping his visor, G-forces of up to six times his body weight pressing on his neck, the ever-present threat of a catastrophic crash as he is watched by roughly 70 million people around the world. For now, it’s time for lunch. “Is chili bad for you?” he asks, digging into a bowl at his team’s commissary. “I don’t think it’s that bad.”

Williams Racing, in Grove, England. It was founded in Oxfordshire in the 1970s, but it’s now an American subsidiary: a Manhattan private equity firm, Dorilton Capital, bought the company in 2020 for an estimated $200 million.

F1 teams employ hundreds of employees and spend hundreds of millions of dollars developing the world’s most sophisticated racecars.

Reaching Formula 1, the highest level of international motor sport, is a big step for Mr. Sargeant, 22, a South Florida native who began racing rudimentary cars known as karts at 6 years old and this year joined the Williams Racing team as the first full-time American F1 driver since 2007.

For Formula 1 itself, finding a hometown hero for American fans is a giant leap.

Although it is enormously popular in Europe, F1 struggled for decades to break into the United States. That began to change in 2016, when the sport was purchased for $4.4 billion by the Colorado-based Liberty Media, owned by the cable magnate John Malone. Liberty ramped up its social media — F1 had barely kept a YouTube page — and backed a popular Netflix documentary series, “Drive to Survive.” Once geared toward aging white men, F1 now has a younger and more diverse fan base. American TV viewership is up 220 percent from 2018, and the sport made $2.6 billion in revenue last year.

Still, a subset of F1 devotees complain about what they see as an overemphasis on entertainment and ginned-up drama. Under Liberty, they argue, pure racing is taking a back seat to cheap tricks to reel in casual viewers. And they often use a dirty word for it: Americanization. “It is becoming more and more like Formula Hollywood,” Bernie Ecclestone, the 92-year-old Briton who built F1 into a global business, griped last year. “F1 is being made more and more for the American market.”

The backlash reached a crescendo at last week’s Miami Grand Prix, which was added in 2022 as a showpiece for American fans. In a prizefight-style pre-race ceremony, the rapper LL Cool J introduced the 20 drivers one by one amid swirling smoke and a squad of cheerleaders. Nearby, Will.i.am conducted a live orchestra playing the rap song he recently recorded with Lil Wayne as part of a “global music collaboration” with Formula 1. (The lyrics rhyme “Max Verstappen,” the name of the sport’s top driver, with “your champion.”)

“Pandering to the American audience is killing @F1,” wrote one fan on Twitter, echoing criticism that bubbled up across numerous F1 websites. Even the racers complained: “None of the drivers like it,” groused Lando Norris, a Briton who drives for McLaren. Undeterred, Liberty announced that the bombastic pre-race sequence would be featured at several more grands prix this year.

In the United States, F1 has long been associated with a certain European mystique, most famously, the louche glamour of the Monaco Grand Prix.

In the United States, F1 has long been associated with a certain European mystique. Its drivers race across the Ardennes forest (Circuit de Spa-Francorchamps in Belgium), the plains of Lombardy (Italy’s Autodromo Nazionale di Monza) and, most famously, the louche glamour of the Monaco Grand Prix. The sport’s stateside image could be summed up by the 2006 comedy, “Talladega Nights: The Ballad of Ricky Bobby,” which featured Sacha Baron Cohen as a pretentious French F1 driver named Jean Girard, a snooty Eurotrash foil to Will Ferrell’s macho NASCAR cowboy.

In 2023, F1 can feel a bit more Ricky Bobby than Jean Girard. In Miami, drivers circled a track built in the parking lot of the Dolphins football stadium, past an artificial Monaco-style “harbor”: blue-painted asphalt topped with ersatz yachts. A new Las Vegas race in November will have cars zooming down the Strip past Caesars Palace. Meanwhile, traditional races in France and Germany are gone.

Katy Fairman, a journalist based in Brighton, England, who runs the F1 podcast “Small Torque,” said she was surprised by the spectacle when she attended a race in Austin, Texas. “There were girls with pompoms,” she said. “I remember watching it and thinking, Oh my gosh, this is so different from anything I’d seen F1 do in a long time.”

Ms. Fairman conceded that some Europeans find the American hullabaloo “tacky.” But she added: “When it’s something to do with America, I think Europeans are quite judgmental. I think it’s just a bit of lighthearted fun. You guys like to have a party.”

The arrival of Mr. Sargeant, who grew up about an hour’s drive from the Miami racetrack, has spurred new interest, including a profile and photo shoot in GQ, and he’s happy to play the part. “What’s up America, let’s bring that energy!” he shouted to the cameras after LL Cool J introduced him as “the local boy done good.”

But as with F1, there are growing pains. In Miami, Mr. Sargeant finished last, his race ruined on the first lap when he damaged a front wing. After the checkered flag, he apologized to his team, his voice barely a whisper: “I’m so sorry. I can’t believe it.”

Weeks earlier, in an interview in England, Mr. Sargeant had demurred about the pressure of wearing the stars and stripes. “I try not to get too caught up in the talk of the role of ‘first American,’” he said. “It’s still very early for me, and I have a lot to learn still.”

If Mr. Sargeant doesn’t perform, there are dozens of drivers eager to take his spot. “At the moment,” he said, “I just have to worry about staying here.”

For a globe-trotting athlete, Mr. Sargeant can be soft-spoken and endearingly self-conscious.

‘I just want to get back in the gym.’

Before his tough Miami weekend, Mr. Sargeant was asked how he would celebrate a top 10 finish. “Honestly, it might sound lame, but probably just go back to my house and get in my bed for another night before I go back to London,” he replied. “That’s all I want to do.”

For a wealthy, handsome, globe-trotting athlete, Mr. Sargeant can be soft-spoken and endearingly self-conscious. It’s not unusual for someone who, like a tennis prodigy or Olympian gymnast, has devoted their life since childhood to a sole pursuit.

Mr. Sargeant was 6 when he and his brother Dalton got a kart from their parents for Christmas. “No one in the family was really even that much into racing,” Logan said. “We just picked it up as a hobby, something to do on the weekend.” He began winning junior races around the country — too easily. To reach the next level and pursue Formula 1, he’d have to leave behind his friends and beloved fishing excursions for life on a different continent: “We just needed a higher level of competition, and at the end of the day, that was in Europe.”

Mr. Sargeant left Florida before his 13th birthday, bouncing between Italy, Switzerland and Britain as he raced on the European junior circuit; in 2015, he became the first American to win the Karting World Championship since 1978. “As a kid, it was tough,” he recalled. “Coming from Florida, being outdoors all the time on the water, great weather — it was literally vice versa.” He eventually settled in London, where he spends most days working out with a trainer. “I get away from a race weekend, and I just want to get back in the gym,” he said. “I hate that feeling of leaving slack on the table.”

It is incredibly difficult to nab a seat in Formula 1. Today’s drivers are physical dynamos trained to optimize their reflexes and performance levels down to how well they can withstand jet lag — critical in a sport that this year will include 23 grands prix spread over five continents. F1 teams employ hundreds of employees and spend hundreds of millions of dollars developing the world’s most sophisticated racecars. But it’s ultimately up to the driver to execute.

It also helps to have money. Lewis Hamilton, the seven-time world champion and F1’s only Black driver, is an exception, having grown up on a London council estate. Many F1 competitors are the sons of multimillionaires (and some billionaires) who can bankroll pricey travel and high-tech cars.

Mr. Sargeant falls into the scion category. He hails from a wealthy Florida asphalt shipping family. His uncle, Harry Sargeant III, is a former fighter pilot and onetime finance chair of Florida’s Republican Party who has been sued by the brother-in-law of King Abdullah II of Jordan and whose name turned up, tangentially, in the 2020 impeachment of former President Donald J. Trump. (Harry was not accused of any wrongdoing.)

Logan’s father, Daniel Sargeant, worked alongside Harry until the brothers had a falling out. In a 2013 lawsuit, Harry accused Daniel of misdirecting $6.5 million in corporate funds “for the purpose of advancing the international cart racing activities” of his sons, Logan and Dalton; that litigation was eventually settled.

In 2019, Daniel Sargeant pleaded guilty in federal court in New York to foreign bribery and money laundering charges related to his business dealings abroad. He is free on a $5 million bond and is awaiting sentencing. A Williams spokesman said that Logan Sargeant was not “in a position to comment” on any of the legal matters involving his family.

In F1, none of this particularly stands out. The mother of Mr. Sargeant’s Williams teammate, Alexander Albon, was jailed in Britain for swindling millions of pounds in fraudulent sales of high-end cars. A Russian racer, Nikita Mazepin, was booted from the sport after his oligarch father, a close ally of President Vladimir V. Putin, was sanctioned following the 2022 invasion of Ukraine.

James Vowles, the Williams team principal, said in an interview that he hired Mr. Sargeant for his speed, not his U.S. passport. “I’m incredibly pleased that the sport is growing in America, but I think it would be anything but disingenuous to say that Logan’s here for any other reason than I think he’s got this pure talent,” he said.

In his F1 debut in Bahrain in March, Mr. Sargeant finished 12th, outpacing this year’s two other rookies. “He has this insatiable desire to be better, to want more,” Mr. Vowles said. “He’s a perfectionist, and I like that in him.”

Tooting around in a Vauxhall Astra

Britain, where Formula 1 originated in 1950, remains the sport’s spiritual home, where most of its 10 teams are based. Williams was founded in Oxfordshire in the 1970s, but it’s now an American subsidiary: a Manhattan private equity firm, Dorilton Capital, bought the company in 2020 for an estimated $200 million.

It was an important cash infusion for a team that had struggled to keep up with rivals. Manufacturers like Mercedes-Benz pour enormous resources into their F1 teams, which double as an elaborate global marketing campaign and an in-house innovation farm; tech developed for F1, like engines that recycle braking energy as an accelerant, can trickle into consumer vehicles.

Formula 1 car simulators at the Williams Racing factory.

Formula 1 drivers practice on sophisticated training simulators.

The Williams campus is a humdrum brick pile that could be mistaken for an office park — a far cry from McLaren’s space-age complex an hour’s drive away. Many F1 teams provide their drivers with a high-end sports car for personal use; Mr. Sargeant commutes in a Vauxhall Astra, a compact.

Even the team’s sponsors are relatively down-market; whereas the official watch of Ferrari is Richard Mille (starting price: $60,000), Williams has a deal with Bremont, whose timepieces retail for significantly less. (On a recent visit, a Williams press aide was quick to extract a spare Bremont watch from his pocket and ensure Mr. Sargeant was wearing it whenever a photographer hovered.)

Given the huge costs, corporate partnerships are crucial to F1, part of the reason the American market, with its abundance of affluent consumers and wealthy brands, has proved so tempting. Gerald Donaldson, a journalist who has covered F1 for 45 years, recalled how cars were gradually taken over by corporate logos starting in the late 1960s.

“Marlboro paid all the Ferrari bills, including the drivers, for many years,” he said in an interview. “There are eager companies who want the publicity.” Mr. Sargeant’s car features ads for Michelob Ultra beer and an American financial firm, Stephens. In Miami last weekend, beachgoers spotted an airborne banner reading “Go Logan!” alongside the image of a Duracell battery.

Last year, the Miami race was viewed on ABC by 2.6 million people, the biggest American audience for a live F1 telecast. Ratings for this year’s race fell about 25 percent, perhaps a result of a duller-than-usual season dominated by one team, Red Bull.

Still, viewing data show that F1 is expanding beyond affluent cities associated with elite sports: In 2022, its top five American TV markets included Asheville, N.C., and Tulsa, Okla. ESPN is clearly betting on more growth. When the sports network renewed its broadcast rights last year, it agreed to pay $90 million annually — up from the $5 million-a-year deal it signed in 2019.

Liam Parker, a former adviser to Boris Johnson who now leads communications at F1, said the sport was intent on rectifying past mistakes. “We were too arrogant,” he said. “We couldn’t understand why the American fan base wasn’t falling in love with us.” But he also pushed back on the complaints that Liberty’s efforts to raise the entertainment factor had stripped F1 of something essential.

“This whole argument of ‘Americanization,’ it’s a very crude way to describe things,” he said. “We shouldn’t ignore things that can improve things for new and core fans. It’s about giving people more choices in the modern era. It’s modernization of access to everyone.”

Mr. Hamilton, arguably the biggest celebrity of the current F1 lineup, has offered his own endorsement of Liberty’s approach. “I mean jeez, I grew up listening to LL Cool J,” he told reporters in Miami. “I thought it was cool, wasn’t an issue to me.”

For all the debates over elitism, good taste and corporate rap collaborations, the core appeal of F1, when you get right down to it, may be something simpler — something Mr. Sargeant got at when asked in the interview if he had loved cars as a kid.

“I absolutely love driving, as you can imagine,” he said. “But to be honest, I’m not one of those people who studies cars and, you know, likes to know every detail of every single car. It doesn’t really interest me.”

“The part that interests me,” he concluded, “is driving them as fast as I can go.”

Eliza Shapiro contributed reporting from Miami. Kitty Bennett contributed research. Michael M. Grynbaum is a media correspondent covering the intersection of business, culture and politics. A version of this article appears in print on May 14, 2023, Section BU, Page 1 of the New York edition with the headline: The Florida Man Of Formula 1.

#logan sargeant #year:2023 #source:newspaper #one of the best logan articles imo #feel free to message me if you want me to gift you a copy of this article from the NYT with my subscription

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bananaofswifts · 4 months

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01 - Taylor Swift

No one in the music industry wielded more power over the past year than Taylor Swift, who made history at stadiums, movie theaters and on the Billboard charts, leaving even the most seasoned executives speechless. While they’d long celebrated her staggering popularity as a singer, songwriter and performer, her force as a strategic business leader suddenly came into sharper focus — and industry veterans took notes as they watched some of her bravest and most innovative business risks reap remarkable rewards.

At 34, she is one of the music industry’s most charismatic and influential leaders — and she rewrites the rules.

“The piece of advice I would give to the other executives on this list is that the best ideas are usually ones without industry precedent,” Swift tells Billboard. “The biggest crossroads moments of my career came down to sticking to my instincts when my ideas were looked at with skepticism. When someone says to me, ‘But that has never been done successfully before,’ it fires me up. We have to take strategic risks every day in this industry, but every once in a while, you have to really trust your gut and take a flying leap. My rerecordings are my favorite example of this, and I’m extremely grateful to my team and fans for taking that leap with me because it absolutely changed my life.”

Sage advice for an industry in which instinct has largely been supplanted by metrics and data analysis.

In December, Time named Swift its 2023 Person of the Year. In September, after encouraging her 279 million Instagram followers to vote and linking to vote.org, the nonpartisan nonprofit said it received over 35,000 registrations. She appears on the cover of this issue of Billboard and in the No. 1 spot of our annual Power 100 issue because her force across the business of music is now unparalleled — and because she models commitment to innovation that the rest of the business will need in order to tackle the big challenges ahead.

Swift’s gambles have paid off handsomely over the past year.

Her massive The Eras stadium tour, which began in March after she controversially put all the tickets on sale at once, crashing Ticketmaster and sparking mass hysteria, grossed an estimated $906.1 million in 2023 and is poised to become the highest-grossing global tour of all time before it wraps in December, according to Billboard.

The Golden Globe-nominated Taylor Swift: The Eras Tour film, taped during her six-show run at SoFi Stadium in Inglewood, Calif., in August, has grossed over $261.6 million worldwide since its October opening, according to AMC Theatres Entertainment. In January, the publicly traded movie-house chain announced that the film’s box-office take made it the highest-grossing concert/documentary picture ever released, surpassing Michael Jackson’s 2009 This Is It. Once again blazing a new path, Swift made a groundbreaking distribution deal directly with AMC Theaters instead of linking with a film studio.

Swift has shaken up the catalog market, too. When Scooter Braun infuriated her by acquiring the master recordings of her first six albums through his Ithaca Holdings and then sold them to investment firm Shamrock Capital at a profit, Swift rerecorded the albums with loving precision and added bonus tracks to the new releases. They performed phenomenally well, as she deftly used her tour to promote them. When her latest rerecording (and 14th studio album overall), 1989 (Taylor’s Version), spent its fifth week at atop the Billboard 200 at the end of 2023, Swift beat Elvis Presley’s record for the most weeks at No. 1 by a solo artist. Her industry market share last year was 1.72%. If she were her own genre, she’d rank ninth for 2023 — bigger than jazz.

“She’s the smartest artist I’ve ever worked with,” says Messina Touring Group’s Louis Messina, who promotes Swift’s tours and has worked with her since 2005. “She outworks everybody and she has always had this vision. If you’re around her, you can’t help but believe in her.” —Melinda Newman

#taylor swift

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jmdbjk · 5 months

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Episode 1: The Beginning

Beyond the Star, produced by HYBE Media Studio

Opens with a flashback of Namjoon explaining their belief in the concept of how any art, any genre of art, can change the world.

This opening footage was recorded during a press conference for CONNECT, BTS.

A good explanation of what CONNECT, BTS appeared on DAZED, January 14, 2020.

It was a huge wide-ranging global art project to link visual art to music art. This is one of the installations in New York City:

Then we see scenes of them arriving at Incheon Airport in February 2020.

In February 2020, they were about to embark on the MOTS world tour. They were really pushing into the western market, especially the United States. They were headed to the States to start promoting on the talk show circuit and for magazine interviews. Western media was all over BTS. The public relations hype for their tour was huge. It was going to be HUGE. BTS was HUGE. At this point in the documentary we see english speaking fans trying to buy tickets for this tour.

This was the beginning of the year that would be their magnum opus.

Leading the docu-series with this reminds everyone what was supposed to happen and the impact they hoped to make here in the United States, to ride the wave of their success as far as they could go until they had to stop. Keep in mind they did not have any full English songs yet.

As far as they knew, this would be the end as we knew it, the end of Chapter 1. We all know what was to follow the MOTS tour even though no one wanted to speak about it: Enlistment. Jin would enlist December 2020 even though rumblings of a potential military exemption were beginning to buzz.

This period of time and after was when MANY MORE became fans of BTS. MOTS:7 was a record-breaking album. They were riding HIGH.

The scene of them being told the MOTS tour was cancelled is gut-wrenching. It makes me think of the content they filmed that day (March 8, 2020 a music show?)

and I wonder at what point during the day they were told. Jimin and Hobi did a Vlive:

There are scenes of MOTS cancellation day in 2020 Memories, but not THIS scene of them being told the tour was cancelled.

Then we jump forward to scenes of the members on the beach in LA (end of 2021) recalling their feelings and thoughts about the previous (almost) two years (the pandemic), reflecting on themselves. They had to overcome frustration, and change and adapt to reality.

Some of them were able to do that easier than the others. We know Jimin had a rough time, and it was challenging for Jin, Tae and Yoongi. Namjoon and Hobi worked on music. Yoongi wondered what was the point of even releasing music at all.

Jungkook says even though they were sad, something good came of it, they realized how much singing and dancing – performing – meant to them and how it superseded everything else.

Jimin says he and Namjoon spoke about how they needed to organize their thoughts over the years pertaining to the reasons they are doing what they do, how they feel and what they want to do, perhaps in order to help them sort through the pandemic aftermath and to serve as sort of an outline of how to proceed... it is sort of how the rest of this documentary series unfolds: the past, the present, the future.

Namjoon begins sharing thoughts of how he felt in the beginning and we flash back to 2013 debut. And the rest say their thoughts about how they began. This is a good way for newer fans to understand how they began: hearing their words as mature adults reminiscing about their roots and their start.

We’ve heard the general story of how they began with RM first and the rap line was assembled, then the vocal line was added with Jimin being the last to make the team. Bang PD recalls how impressed he was with Namjoon and knew this was someone special.

I’m positive there were opinions, decisions and choices made that we will never know because we weren’t there witnessing the moments. Whatever those decisions were, some probably forgotten in time or only known by a few involved in the process, however it happened, these seven individuals were settled upon and the team was created. The rest is history.

No one had an inkling of how much they would change the idol and kpop industry from what they then knew it to be.

Preparing for debut: one of the things Jungkook says is they expected hardships back then but looking back now, if he tried to do that now, he couldn’t do it, but back then, it was a given. Yoongi said they spent every moment in the practice room when they weren’t eating or sleeping… up all night practicing, so much stress and pressure amongst seven young passionate young men trying to make a good debut.…you can see the stress and fatigue on their faces.

Through all of that they reveal how hard they worked and how deep their commitment is. They felt it was important to convey this deep personal connection to each other they developed and how strong their bond is.

The events might be repetitive for people who’ve been Army since the beginning or since before 2020, but for the benefit of newer fans, presenting their story like this in the words of each member is important.

The author of the book Beyond the Story, Myung Seok Kang, explains how much of an underdog BTS was in the beginning. They were from a small, barely making it company and had the audacity to win Best New Artist in 2013 at the Melon Music Awards.

Hearing them state how they felt during that debut year, their young minds trying to process what was happening, thrust into society at such a young age, seeing their friends still being students, they had to reconcile within themselves that their lives were so different.

Jungkook (our now giant global pop star) said he remembers how small he felt hearing another really good singer in his in-ears as they prepared for a performance.

Watching them struggle to come up with the melody for Danger, working on it as a team from Jungkook, to Namjoon, to Yoongi, note by note… at such a young age and then not experiencing the expected success or gains after they had done that with the previous song… they thought this would be the end for them. All they wanted was to win first place at a music show…. CAN YOU IMAGINE?? The team was wavering.

Newer fans need to be aware of this struggle.

All of this led to them writing the album, The Most Beautiful Moment in Life, the real start of their rise to stardom. They finally bagged that 1st place music show win with I Need U. The win gave them the confidence they needed to push forward and they kept winning with each song after that. Seeing their confidence grow after each win is exhilarating.

This album is the turning point in their career, the launch pad, so-to-speak.

And the song, Yet to Come (The Most Beautiful Moment in Life) is the thread connecting Chapter 1 to Chapter 2 and beyond. We will have a Most Beautiful Moment in Life 10th Anniversary in 2025. This docu-series is the bridge between what was then, now and what is … yet to come.

Review of Episode 2 next…

#if you can read the book it adds so much more #bts beyond the star #jimin #jungkook #hobi #namjoon #yoongi #jin #taehyung #what will the song be that connects YTC with the future?

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plasticflwrs · 27 days

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★⠀⠀ ⁄ ⠀⠀OH DEURIM WILL SIGN WITH SUPERBLOOM'S NEWEST SUBSIDIARY ROVE RECORDS:⠀⠀Published on May 12, 2014 at 10:34 EST.

In 2022, Shin Yeonghui shared her plans for the next five years at the annual Superbloom family concert and expressed excited about expanding their artist rosters and launching sibling companies to enter different aspects of the entertainment market.

The first was CECELIA ENTERTAINMENT, the home to global girl group VELVETINE, who skyrocketed to fame after their first comeback DITTO and unique concept. Since then, only a label created was for BLUE CHEER—BC MUSIC—to control their own music and comeback schedules.

ROVE RECORDS is their newest investment and leap towards expanding themselves in different markets. Just like the rest, it comes with big names being signed to the label, including Plastic Flowers' pianist OH DEURIM. It is currently unknown what plans they have for the label beyond her solo debut, but many fans expect that another group will either debut or be moved there.

After the news dropped, Deurim took to Instagram to share her excitement with fans. When asked about staying with Superbloom, Deurim said: "I was blinded by my own greed, but I had someone to bring me back to what's important and realize only Superbloom can give me what I want".

Many fans expressed their confusion about why she left the main label, with their bigger name and budget, for something new, which Deurim didn't seem to have an answer for. She just shrugged the comment off and claims that it was apart of her deal with Shin Yeonghui to return to Superbloom.

The live ended not to long after, with Deurim saying that she was going to hang out with bandmate Oliver and write some music. It seems like OD1 is coming and it will be much sooner than expected!

what do you think of the news?

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gothhabiba · 6 months

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youtube

The Golden Arches, internationally recognised symbols of American corporate might and cultural diffusion, became in March 2002 the target of young Egyptians frustrated with what they perceived to be America's complicity in the onslaught of Israel's Prime Minister, Ariel Sharon, against the Palestinian Authority. McDonald's was not the only foreign establishment to suffer broken windows; photographs circulated on the web also included images of a similarly vandalised KFC restaurant in Cairo. Still, none can deny the special place held by McDonald's in the global fast-foodscape. In Egypt, the targeting of the Arches is particularly interesting, as it follows on the heels of a controversy that cut to the very heart of intersections between indigenous and imported mass culture, and popular, if somewhat disreputable, music was at the epicentre of the commotion.

A year earlier, the fast-food giant found itself compelled to scrap a remarkable advertising campaign designed to promote a new, indigenous product. [...] [E]fforts to market an Egyptian national dish became enmeshed directly with Middle East diplomacy—and its breakdown—through an ill-fated effort to link an 'authentic Egyptian' product to an 'authentic Egyptian' pop singer. The very attraction of that singer from a marketing standpoint lay in his recent recording of a potent political anthem which had quickly become a smash hit in Egypt's informal popular music sector.

In the spring of 2001, at the height of his career, veteran shbi singer Shaaban Abd al-Rahim suddenly discovered that his television advertisement for the new McFalafel had been cancelled, reportedly following complaints from the New York-based American Jewish Congress over the corporation's use of the singer to promote its product. This cancellation was a response to Shaaban's recent blockbuster hit, 'I hate Israel' (Ana bakrah Isra'il [أنا بكره إسرائيل]), a pulsating rap number that had made him, after some twenty years of steady work at the lower end of the wedding circuit, a figure of national renown, the anointed 'interpreter of the pulse of the Egyptian and Arab street' (Abd al-Hadi 2001, p. 39). Even more incongruously it had made him a figure to be courted, albeit not always with great appetite, by the cultural and artistic intelligentsia that had heretofore scorned him.

The story of Shaaban Abd al-llahim, his smash hit, and the McDonald's fiasco raises a variety of questions about the relationship between popular 'folk' music and official culture in Egypt. It points to the thriving popularity of a quasi-legitimate 'cassette culture' (Manuel 1993) in a broadcast market that is still rigidly controlled by state authorities and, perhaps even more, to potent political expression at the edge of sanctioned propriety (Gordon 2001). In addition, it points to the changing world of corporate sponsorship in an ever more globalised national economy, and the changing relation of art/artist and song/singer to the fast moving world of advertising. The contest over sponsorship of this particular product—McFalafel—points to the persistent power of national symbology, especially culinary and musical tropes, even if the former has, in this case, been constructed by the extra-territorial multi-national fast-food chain, and the latter co-opted to promote the product. Finally, the very deliberate turn to a singer like Shaaban Abd al-Rahim for product sponsorship, especially for a commercial to be broadcast on state-run television, underscores weakening boundaries between what is 'classically' approved and what is still considered to be 'vulgar' or 'low-class' music, however popular it may be among wide sectors of the population.

—Joel Gordan, "Singing the Pulse of the Egyptian-Arab Street: Shaaban Abd Al-Rahim and the Geo-PopPolitics of Fast Food." Popular Music 22.01 (2003), pp. 73-88.

#Joel Gordan #Egypt #McDonalds #food #music #Youtube

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music-ntproduction · 3 months

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Discover the Benefits of Music Worx: A Comprehensive Guide

Are you an artist or DJ looking to make waves in the music industry? Look no further than Music Worx! This comprehensive guide will unveil Music Worx's plethora of benefits, from boosting your music career to reaching a wider audience. Let's dive into how this powerful platform can take your music promotion game to the next level.

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One key benefit of Music Worx is its ability to connect artists with record labels, radio stations, and music influencers. This networking opportunity can open doors for artists looking to expand their reach and grow their fan base.

Moreover, Music Worx offers detailed analytics that allows users to track the performance of their releases. Artists and DJs can monitor metrics such as downloads, streams, and chart positions, enabling them to make informed decisions about their promotional strategies.

Music Worx is a powerful tool for emerging talents seeking to establish themselves in the competitive music landscape.

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Music Worx offers many features designed to streamline music promotion for artists and DJs. One standout feature is its user-friendly interface, making it easy to navigate and use even for those new to the platform.

With Music Worx, users can access a vast database of tracks across various genres, providing ample opportunities for discovery and collaboration. The platform allows artists to submit their music directly to record labels and industry professionals, increasing visibility and potential career opportunities.

Music Worx offers detailed analytics and feedback on-track performance, allowing users to make informed decisions about their promotional strategies. The ability to create personalized promo pools for specific audiences further enhances targeted marketing efforts.

Music Worx is a comprehensive tool that empowers musicians to elevate their careers in the competitive music industry.

How To Use Music Worx Effectively For Music Promotion

Are you an artist or DJ looking to elevate your music promotion game? Music Worx is here to help you amplify your reach and connect with a broader audience.

Create a compelling profile on Music Worx that effectively showcases your brand and music style. This will grab the attention of potential listeners and industry professionals browsing the platform.

Utilize the platform's playlist submission feature to get your tracks in front of influential curators who can boost your visibility. Engage with other users by commenting on tracks, sharing feedback, and networking within the community.

Take advantage of Music Worx's analytics tools to track the performance of your releases and gain valuable insights into listener behavior. Use this data to refine your promotional strategies and tailor your content for maximum impact.

By leveraging all of Music Worx's powerful features, you can take control of your music promotion efforts and unlock new opportunities for success in the competitive music industry.

Tips For Maximizing The Benefits Of Music Worx

By following these tips and using Music Worx to its full potential, artists and DJs can maximize this powerful platform's benefits. From accessing new promotional tools to connecting with a global network of industry professionals, Music Worx offers unparalleled opportunities for advancing your music career. Embrace the features, engage with the community, and watch your music reach new heights with Music Worx. Start making waves in the music industry today!

#Music Worx

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iwanthermidnightz · 4 months

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1) Taylor Swift

At 34, she is one of the music industry’s most charismatic and influential leaders — and she rewrites the rules.

Sage advice for an industry in which instinct has largely been supplanted by metrics and data analysis.

Swift’s gambles have paid off handsomely over the past year.

#taylor swift

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joesalw · 5 months

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Just went through the r/SwiftlyNeutral and saw a post about her firing her manager back in 2005 and him suing her and her parents in 2008. Holy hell. The audacity of this woman to make herself seem like she came from this humble background when in reality her daddy bought her a record deal AND HIRED BRITNEY SPEARS' MANAGER. There's a court doc attached to the post.

So basically they hired Dan Dymtrow who shopped her to major labels and invited execs to see her perform at the Blue Bird Cafe. He hired consultants to help her improve her skills, educated her and her family about marketing, branding, imaging to 'help develop a satisfactory press kit to present to music industry executives and for press/media coverage'. Got her A&F deal, scheduled meetings in New York and Nashville with major record companies. "Due in significant part to her young age, not one major record label would even meet with Artist before Mr. Dymtrow agreed to represent her".

In 2004 he had a "press-package" sent to Scott Borchetta (who was the Executive Vice-President for Universal Music Group at the time) and invited him to see her perform at the Blue Bird Cafe and sent her demo to him. After that Borchetta left UMG and started his own label. He told Dymtrow that he wanted to sign Taylor. Dymtrow "worked closely with Borchetta to ensure that Artist would get the most favorable record contract terms". In July 2005 Scott Swift told Dymtrow that he was terminating his contract and a few weeks after Taylor signed with Big Machine (they fired him to avoid paying him I'm assuming). Before he was fired, he was pursuing Creative Artists Agency "CAA" to represent Swift. In June 2005 they offered to sign Taylor as their client and the contract was signed after her manager was fired (his contract was officially terminated in August 2005).

In about May 2005 Scott Swift began to systematically and wrongfully discredit Dymtrow's efforts and interfere with management, created a division between his daughter and her manager. Prior to firing him, her father requested and obtained Dymtrow's goals and plans for his daughter's career and contacts he was relying on. In July he demanded Dymtrow to draft NINE different business plans to chart her career for the next five years. The following day he asked him about WHO OWNED ARTIST'S MASTER RECORDINGS(!!!). That was before the deal was even signed.

The story she's selling is completely re-written. They hired a top industry manager with lots of contacts in the industry, nosed out his plans and a list people that can help, fired him without paying. They knew about her possibly not having the ownership of her masters even before the contract was signed. The lawyer that represented her when she was 13-years-old is currently the Global Head of Artists at YouTube Music. Just scums.

After his contract was terminated, Andrea and Taylor had a dinner with him where Taylor told him that she didn't want to fire him and her father made her choose between him or the manager *ew*. Her father also threatened to cut-off any financial support related to her career if she didn't fire the guy *again,ew* which Andrea confirmed.

Someone mentioned that the skeletons in her closet will fall out on their own and I think that's true. Her own fans (former fans?) will be her downfall. I mean, I found this in a supposed Swiftie Reddit sub. If this kind of stuff gets more traction she *may be* screwed.

#anti taylor swift

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